Music & dance reviews

Music & dance reviews

Sparkling presence: Neha SeshadrinathSangati of Ananya

The Ananya conducted the annual ‘Sangati’ Music Festival last week. Young musicians exhibited their talent through veena, flute, apart from vocal concerts. Annual awards – Ananya Puraskar to R Parthasarathi, Shastra Kausthuba to Padma Gurudutt and Yuva Puraskar to Maruthi Prasad – were conferred and prizes were distributed to students of Music, on the occasion.

G Ravi Kiran, who sang here on Friday, has learnt from veteran R K Srikantan and is being groomed by T M Krishna for the past few years. He chose a Pallavi as the piece de resistance of his concert which was appreciated by the gathering. Raga varali was noted for its verve, and the Pallavi (Thishra Triputa) was moulded into an essay of aesthetic finesse. The Pallavi became attractive with a rich variety of sangathies and swara. His artistic discernment was further embellished in the fringe melodies like Jagadisha, Tirupati Venkataramana and Tillana. Earlier his wide ranging interpretative power came to fore in the elaboration of “Sree Venkatesha Gireesham”. Ravikiran’s career is worth watching. Another young artiste Amritha Murali on violin, shared the limelight with the vocalist, while seasoned percussionists V Krishna and D V Prasanna Kumar supported well.

Mediocore music

Maruthi Prasad, who gave a vocal concert on Sunday last, in the Sangati Series, is not a stranger to music lovers of Bangalore. He has received initial lessons from Chintalapalli Suryanarayana, Lalitha Panthulu and Rajeshwari Aravind and is receiving higher lessons from T S Satyawathi, senior musician. He has completed his Vidwath examination and also plays the keyboard. Though he is a blind vocalist, is serving as a music teacher in a government school in Bangalore.

The ‘Vandipe Ninage Gananatha’ gave Maruthi Prasad a good start. After The “Akhilandeshwari” in slow tempo, “Bagayanaiah’ was evocative. Bhairavi alapana was followed by ‘Indu Enage Govinda’, the only available composition of Sri Raghavendraswamy. He concluded with ‘Harinarayana’ and a less known Mangala ‘Ambujakshage Mangala’. But in total the vocal could not rise above the pales of mediocrity. The accompanists – B K Raghu on violin, A S N Swamy on mridanga and Phanindra Bhaskar on ghata – gave useful support on their respective instruments.

Pleasing kathak

The Abhinava Arts centre presented the ‘Kathak Sandhya’ at the Mangala Mantapa. The artiste Neha Seshadrinath is a disciple of Nirupama and T D Rajendra and hails from a good cultural background.

A sparkling presence and a heartening air made the Kathak recital of Neha enjoyable. The programme for the day revealed a familiar repertoire, starting with a Guruvandana in the raga Bhup, followed by a Shiva Vandana in Bairagi Bhairavi, thus setting the tone of the performance to follow. Next she took up the purely rhythmic part - Thihay, Paran - dancing to various permutations of rhythm. Without overdoing recitation of Bols, the rhythmic part with graceful movements and skilful foot work was pleasing. Abhinay in the Astapadi (Lalitha lavanga) was noteworthy, and stately without drifting into too much dramatics. The Tillana (Madhukauns, Faiz Khan) was delightful. Neha Seshadrinath has a bright future in the years to come. Neha received a strong support from the wings consisting of vocal (Fiyaz-khan), tabla (Trilochan Kampli), pakwaz (Gurumurthy Vaidya), Shruthi Kamath (sitar), Raghunandan (flute), Sateesh (harmonium) and of course Guru Nirupama Rajendra.

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