<p>Performance with ease and assurance<br /><br /></p>.<p>Supraja Prasad, is a disciple of Prof M R Krishnamurthy of Kalakshithi School and has completed her Ranga Pravesha and has also performed at a few avenues. <br /><br />She is a graduate in engineering and has completed “Vidwath” in dance. Supraja usually performs with her sister Bhoomija. She performed solo, as a tribute to her Guru, at the Bharatiya Vidya Bhavan last week.<br /><br />The necessary discipline of technique to take up the air in all seriousness was evident from the invocatory item Alaripu (set to Sankeerna jathi) itself. The keerthana of Dr M Balamuralikrishna which was tuned in the raga Vishwambari was on Lord Nataraja. The devotee prays, “Bho Shambho Shankara! Please bless me and protect me always.” <br /><br />The Anandabhairavi varna “Sakhiye” of Tanjore quartet was the mainstay of the recital. Unfolding a firm footing in the basics, she performed with a relaxed attitude. The profundity expected in the varna (Virahoth Khanditha Nayaki) was not fully exhibited but it was pleasing. <br /><br />Both the Pada (Urake - Devagandhari) and Asta padi (Yahi Madhava, Aarabhi) provided her ample opportunity to prove her Abhinaya skill. The concluding thillana (Natabhairavi, Veena Krishnamacharya) had several dance postures with evocative foot work. She tried to depict “Vatsalya Bhava” in the Kannada devaranama “Krishna Nee Begane Baro” dramatising the playfulness and prank of Balakrishna. Supraja has a good stage presence and performs with ease. But she has to graduate in the effective use of her facial expression.<br /><br />Another feature of this dance recital was the emergence of Gagana as a Nattuvanar. While Srivathsa’s vocal was complimentary to the dance, Gurumurthy on mridanga, Pradeeshachar on violin, supported well. <br /><br />Proof of good training<br /><br />The Sharada Samskruthika Sangha, Basaveshwaranagara, had organised three music concerts in connection with the Ganesha Utsava. <br /><br />Divya Padmanabhan who gave a vocal recital here, is now a disciple of R N Tyagarajan of “Rudrapattana Brothers” fame. She is an MTech graduate from IIT, Chennai, and pursuing PhD at the Indian Institute of Science, Bengaluru. In one of the compositions (Ramanatham Bhajeham) Muthuswamy Dikshitar says - <br /><br />“I offer my obeisance to Lord Ramanatha who was worshipped by Lord Ramachandra. He confers the desired boons on his devotees. He has the glory of possessing “Koti Tirtha.” Tanks of holy waters in His temple precinct.... He resides in the hill Gandhamaadana, situated at the centre of “Setu.” <br /><br />This Keerthana was chosen by Divya Padmanabhan as the main item of her concert. As a prelude, she sang raga Kamavardhini and elaborated with nerval (Kumara Guruguha) and swaraprasthara. Though alapana was brief, the swaraprasthara was dragged little. Earlier, she also sang another fine composition of Dikshitar “Sri Balasubramanya,” which was also delineated with raga (Bilahari), nerval (Kanakavalli Deva) and swara, highlighting the musical stature. “Kanaka Shaila Viharini” - is a favourite of connoisseurs and “Idi Nyayama Sri Ramchandra” was a quickie. As a prelude to the devaranama “Narayana Ninna Namada,” she also sang a sloka (Kasturi Tilakam) neatly. <br /><br />Divya is deeply interested in music and her “Paattanthara” is also good. With some more higher training and stage experience, she can climb the ladder of success. She was accompanied by Shankararajan and G S Nagaraj on violin and mridanga, respectively.<br /><br /></p>
<p>Performance with ease and assurance<br /><br /></p>.<p>Supraja Prasad, is a disciple of Prof M R Krishnamurthy of Kalakshithi School and has completed her Ranga Pravesha and has also performed at a few avenues. <br /><br />She is a graduate in engineering and has completed “Vidwath” in dance. Supraja usually performs with her sister Bhoomija. She performed solo, as a tribute to her Guru, at the Bharatiya Vidya Bhavan last week.<br /><br />The necessary discipline of technique to take up the air in all seriousness was evident from the invocatory item Alaripu (set to Sankeerna jathi) itself. The keerthana of Dr M Balamuralikrishna which was tuned in the raga Vishwambari was on Lord Nataraja. The devotee prays, “Bho Shambho Shankara! Please bless me and protect me always.” <br /><br />The Anandabhairavi varna “Sakhiye” of Tanjore quartet was the mainstay of the recital. Unfolding a firm footing in the basics, she performed with a relaxed attitude. The profundity expected in the varna (Virahoth Khanditha Nayaki) was not fully exhibited but it was pleasing. <br /><br />Both the Pada (Urake - Devagandhari) and Asta padi (Yahi Madhava, Aarabhi) provided her ample opportunity to prove her Abhinaya skill. The concluding thillana (Natabhairavi, Veena Krishnamacharya) had several dance postures with evocative foot work. She tried to depict “Vatsalya Bhava” in the Kannada devaranama “Krishna Nee Begane Baro” dramatising the playfulness and prank of Balakrishna. Supraja has a good stage presence and performs with ease. But she has to graduate in the effective use of her facial expression.<br /><br />Another feature of this dance recital was the emergence of Gagana as a Nattuvanar. While Srivathsa’s vocal was complimentary to the dance, Gurumurthy on mridanga, Pradeeshachar on violin, supported well. <br /><br />Proof of good training<br /><br />The Sharada Samskruthika Sangha, Basaveshwaranagara, had organised three music concerts in connection with the Ganesha Utsava. <br /><br />Divya Padmanabhan who gave a vocal recital here, is now a disciple of R N Tyagarajan of “Rudrapattana Brothers” fame. She is an MTech graduate from IIT, Chennai, and pursuing PhD at the Indian Institute of Science, Bengaluru. In one of the compositions (Ramanatham Bhajeham) Muthuswamy Dikshitar says - <br /><br />“I offer my obeisance to Lord Ramanatha who was worshipped by Lord Ramachandra. He confers the desired boons on his devotees. He has the glory of possessing “Koti Tirtha.” Tanks of holy waters in His temple precinct.... He resides in the hill Gandhamaadana, situated at the centre of “Setu.” <br /><br />This Keerthana was chosen by Divya Padmanabhan as the main item of her concert. As a prelude, she sang raga Kamavardhini and elaborated with nerval (Kumara Guruguha) and swaraprasthara. Though alapana was brief, the swaraprasthara was dragged little. Earlier, she also sang another fine composition of Dikshitar “Sri Balasubramanya,” which was also delineated with raga (Bilahari), nerval (Kanakavalli Deva) and swara, highlighting the musical stature. “Kanaka Shaila Viharini” - is a favourite of connoisseurs and “Idi Nyayama Sri Ramchandra” was a quickie. As a prelude to the devaranama “Narayana Ninna Namada,” she also sang a sloka (Kasturi Tilakam) neatly. <br /><br />Divya is deeply interested in music and her “Paattanthara” is also good. With some more higher training and stage experience, she can climb the ladder of success. She was accompanied by Shankararajan and G S Nagaraj on violin and mridanga, respectively.<br /><br /></p>
