<p>Impactful Abhinaya<br /><br /></p>.<p>Nadam presented a special dance programme called ‘Vinara’ last week.“Vinara” means ‘listen’! This is the recurring call of the individual all through life! To share a joy or beauty, to be heard, with attention, understanding and empathy, is ever the need of the hour, whomsoever is addressed and whatever the context may be. The author further says – “Be it lover, a child, a sibling, a friend, a foe, or a God-head, the plea is uttered in myriad emotional tones.”<br /><br />Veteran danseuse, teacher and choreographer Bragha Besell takes on the appeal ‘Vinara’ through dance, poetry and music. Another senior artiste and author Sujatha Vijayaraghavan joined with her apt script.<br /><br />Bragha Bessel opened her programme with a composition of Subramanya Bharathi, on Ganapathi. It was followed by a number of compositions in different languages. But all complimentary to the subject by different composers. Bragha Bessel dramatising the situations with beautiful and impactful abhinaya impressed the connoisseurs. Performing effortlessly her experienced and matured expression came to the fore throughout the recital.<br /><br />Sujatha Vijayaraghavan’s meaningful script and fine narration along with Hariprasad’s melodious vocal made the programme a very interesting one. Natuvanga by Sri Sudarshini, mridanga by Anil Kumar, flute by Muthu Kumar, violin by Easwar Ramakrishnan – all were supportive to the dancer.<br /><br />Haridasa Habba<br /><br />The Haridasa Sampada Trust conducted the annual “Haridasa Habba” with both Karnatic and Hindustani music concerts, bhajan and lectures, in collaboration with TTD Dasa Sahitya Project of Tirupathi. The “Prasanna Venkata Puraskara” was conferred on Avadhuth Jayanna, Shiravara.<br /><br />Vasudha Balakrishna, who gave a vocal concert in the Haridasa Habba, hails from a artistes family. After initial training, she learnt music under Tirumalai Srinivas and is continuing training with Neela Ramgopal. <br /><br />She has sung music for many leading dancers and has performed in USA and UK also. She also teaches music at Sri Vani Center of Performing Arts, to young aspirants and organise Vaibhavam festival, every year.<br /><br />Vasudha presented a number of devaranamas of different Haridasas, which suited the occasion very well. <br /><br />She opened her programme with “Vandisuve Aadiyali Gananathana”, customarily. Few sloka and Ugabhogas she sang, before the devaranamas as prelude, added to the meaning of the main composition. For instance ‘Pujyaya Raghavendra’ before the ‘Tunga Teera vihara’ and “Hari Ninna Namava Smarisalu” before the “Naneke Badavanu” – caught the attention of the house. With her good voice she also presented few popular devotionals like –Harichittha Satya, Baro Krishnaiah, Innu Daya Baarade, Sakala Grahabala Neene, which had their lively spell. With some more higher training Vasudha will be able to reach great heights. Jyotsna Manjunath on violin, Narasimha Murthy on flute, S.V. Balakrishna on mridanga, Jagadeesh Kurtukote on thabala – accompanied with good understanding.<br /><br />Command over laya<br /><br />R A Ramamani, internationally acclaimed artiste, gave the inaugural concert of the ‘Ananya Sangeethothsava’, on Wednesday. Seasoned instrumentalists B Raghuram, B K Chandramouli and A S N Swamy – rose to great heights in their supporting roles.<br />With decades of concert experience behind her Ramamani brought to her rendering some infrequently heard ragas and compositions with commendable grip on laya and fidelity to convention that commanded respect. This was evident from the very beginning when she chose a varna in Pancha nade. <br /><br />Kambodhi Atta thala varna is a familiar, common varna. But Ramamani made it exciting by presenting it in ‘Pancha nade’, tisra Rupaka thala, Sankeerna, Misra, Khanda Chatusra and Tisra which was breath taking and challenging! ‘Gajananayatam’ in Chakravaka was followed by “Budhamashrayaami” (Natakuranji, Misra Jhampe), which suited the day (Wednesday). ‘Janaki Ramana’ in Sudda Srimantini is a favourite of old timers. <br /><br />Raga Janaranjini took of on a bright note. The cerebral appeal of Karnatic music gained prominence in the pallavi rendering. Raga Nasikabhushani is the 70th mela and was known as Naasamani, earlier. Raga alapana and thana in three speeds was well knit and attractive. Pallavi (Vani Kalarani Sharvani Nasikabhushani) with raga mudra set to chatusra triputa and khanda nade – was another instance of Ramamani’s mastery over the medium. <br /><br /><br /></p>
<p>Impactful Abhinaya<br /><br /></p>.<p>Nadam presented a special dance programme called ‘Vinara’ last week.“Vinara” means ‘listen’! This is the recurring call of the individual all through life! To share a joy or beauty, to be heard, with attention, understanding and empathy, is ever the need of the hour, whomsoever is addressed and whatever the context may be. The author further says – “Be it lover, a child, a sibling, a friend, a foe, or a God-head, the plea is uttered in myriad emotional tones.”<br /><br />Veteran danseuse, teacher and choreographer Bragha Besell takes on the appeal ‘Vinara’ through dance, poetry and music. Another senior artiste and author Sujatha Vijayaraghavan joined with her apt script.<br /><br />Bragha Bessel opened her programme with a composition of Subramanya Bharathi, on Ganapathi. It was followed by a number of compositions in different languages. But all complimentary to the subject by different composers. Bragha Bessel dramatising the situations with beautiful and impactful abhinaya impressed the connoisseurs. Performing effortlessly her experienced and matured expression came to the fore throughout the recital.<br /><br />Sujatha Vijayaraghavan’s meaningful script and fine narration along with Hariprasad’s melodious vocal made the programme a very interesting one. Natuvanga by Sri Sudarshini, mridanga by Anil Kumar, flute by Muthu Kumar, violin by Easwar Ramakrishnan – all were supportive to the dancer.<br /><br />Haridasa Habba<br /><br />The Haridasa Sampada Trust conducted the annual “Haridasa Habba” with both Karnatic and Hindustani music concerts, bhajan and lectures, in collaboration with TTD Dasa Sahitya Project of Tirupathi. The “Prasanna Venkata Puraskara” was conferred on Avadhuth Jayanna, Shiravara.<br /><br />Vasudha Balakrishna, who gave a vocal concert in the Haridasa Habba, hails from a artistes family. After initial training, she learnt music under Tirumalai Srinivas and is continuing training with Neela Ramgopal. <br /><br />She has sung music for many leading dancers and has performed in USA and UK also. She also teaches music at Sri Vani Center of Performing Arts, to young aspirants and organise Vaibhavam festival, every year.<br /><br />Vasudha presented a number of devaranamas of different Haridasas, which suited the occasion very well. <br /><br />She opened her programme with “Vandisuve Aadiyali Gananathana”, customarily. Few sloka and Ugabhogas she sang, before the devaranamas as prelude, added to the meaning of the main composition. For instance ‘Pujyaya Raghavendra’ before the ‘Tunga Teera vihara’ and “Hari Ninna Namava Smarisalu” before the “Naneke Badavanu” – caught the attention of the house. With her good voice she also presented few popular devotionals like –Harichittha Satya, Baro Krishnaiah, Innu Daya Baarade, Sakala Grahabala Neene, which had their lively spell. With some more higher training Vasudha will be able to reach great heights. Jyotsna Manjunath on violin, Narasimha Murthy on flute, S.V. Balakrishna on mridanga, Jagadeesh Kurtukote on thabala – accompanied with good understanding.<br /><br />Command over laya<br /><br />R A Ramamani, internationally acclaimed artiste, gave the inaugural concert of the ‘Ananya Sangeethothsava’, on Wednesday. Seasoned instrumentalists B Raghuram, B K Chandramouli and A S N Swamy – rose to great heights in their supporting roles.<br />With decades of concert experience behind her Ramamani brought to her rendering some infrequently heard ragas and compositions with commendable grip on laya and fidelity to convention that commanded respect. This was evident from the very beginning when she chose a varna in Pancha nade. <br /><br />Kambodhi Atta thala varna is a familiar, common varna. But Ramamani made it exciting by presenting it in ‘Pancha nade’, tisra Rupaka thala, Sankeerna, Misra, Khanda Chatusra and Tisra which was breath taking and challenging! ‘Gajananayatam’ in Chakravaka was followed by “Budhamashrayaami” (Natakuranji, Misra Jhampe), which suited the day (Wednesday). ‘Janaki Ramana’ in Sudda Srimantini is a favourite of old timers. <br /><br />Raga Janaranjini took of on a bright note. The cerebral appeal of Karnatic music gained prominence in the pallavi rendering. Raga Nasikabhushani is the 70th mela and was known as Naasamani, earlier. Raga alapana and thana in three speeds was well knit and attractive. Pallavi (Vani Kalarani Sharvani Nasikabhushani) with raga mudra set to chatusra triputa and khanda nade – was another instance of Ramamani’s mastery over the medium. <br /><br /><br /></p>
