Operatic presentation of Vinayaka

CHITRA VEENA maestro N. Ravikiran gave a glorious start to Hamsadhwani's sixth annual NRI Music with his operative creation ``Vinayaka Vaibhavam'' which received wholesome praise as his Lakshmi Prabhavam did a few years ago under the same auspices. Vinayaka Vaibhavam was presented as a music-dance creation and premiered in Portland, Salt Lake City and San Jose in September- October 2000 and the music received a wonderful response from the audiences.

This was the first time that Ravi was presenting his popular production as operatic creation (without dance). Explaining the theme briefly Ravi Kiran said, ``Ganesha is one of the most popular icons in Indian culture. He symbolises innate wisdom, knowledge, a sense of humour (Ravi emphasised) and cheerful charm, not to mention exemplary common sense and devotion to his parents and elders.

The Opera comprises five episodes in Ganesha's life each one of which has a moral to give to the world. The first one was an episode relating to Kubera, Lord of Wealth, whose pride was humbled. He organised a sumptuous dinner and went to Parama Siva and Parvati to invite the pair.

The song ``Ennigar evarundo'' in Mohanakalyani showed his arrogance - the entire charanam of the song had words beginning with the vowel `a' as in America. Kubera then goes to Vinayaka to invite Him on Siva-Parvati's suggestion. Vinayaka knows why Kubera was coming to him and the dialogue between the two has a touch of humour.

At the dinner Vinayaka consumes everything that was served and all the belongings of Kubera, who is left without anything to serve and is a beggar.

Addressing Kubera Ganesha asks ``Enna virundeedaiya'' in a ragamalika song. Kubera is humbled and with Ganesha asking for more and more to consume he speeds to Kailas to seek help from Siva-Parvati who in turn asks him to seek solution from Vinayaka himself. Kubera fervently appeals with a song ``Poruttarulveere'' in Nattaikkuranji. Kubera is repentant and humbled.

Episode two: This is about the famous race for the divine fruit between Ganesha and brother Kartikeya. The fruit was brought by Narada. There is a humourous dialogue between Shiva and Narada. Sivan asks ``Nalama Narada'' ``Kalaham ennavenru'' in Jaganmohini and Kanada.

The prize is to be given to one who goes round the world first. Even as the condition is being laid Kartikeya sets off (of course he doesn't jump the gun). Ganesha does not move.

As his brother arrives after journeying round the world Ganesha has gone round his parents (pradakshina) and gets the prize. Ganesha sings ``Maata pita'' in Kadanakutoohalam (set in a brisk tempo this probably the most philosophical song in Vinayaka vaibhavam where Vinayaka highlights the greatness of parents). Kartikeya renders a stormy song ``Puyalena ulahinai'' in Pashupatipriya and leaves Kailas and decides to stay in Palanimalai.

Episode three: Siva and Parvati play a game of dice. Parvati wins. Siva disputes and Nandi is asked to arbitrate. He is in a dilemma - as Siva-Parvati tell him ``Nadukkam Vendam Nandi Nyayam Sol''. When he gives decision in favour of Siva, Parvati gets angry and curses Nandi which can be redeemed only by Vinayaka. Nandi seeks Parvati's understanding of a devotee's plight with a song ``Pizhai Poruttarulvaye'' in Nayaki.

The viruttam in Gangeyabhooshani typifies Nandi's plight. And finally Nandi goes to Vinayaka with a viruttam in Desh. Vinayaka removes the curse and it is a joyous moment and the celebration comes in the form of a kavidichindu.

Episode four: It is all about Avvayar. Her transformation into an old lady from a beautiful damsel whose hand is sought by suitors and Avvayar's prayer to Vinayaka to help her out. The delay angers her.

``Varan Paarka'' in Vachaspati describes her plight and the viruttam in Hamsanandi (the first seven phrases begin with long vowels ``aa'' ``ee'' ``uu'' etc. - Avvai continues with another viruttam in Kapi (with first few phrases beginning with short vowels ``a'' ``e'' ``u'' etc.)

While all the verses in Vinayaka Vaibhavam were composed by Ravi Kiran he has incorporated parts of the last verse from Avvaiyar's Vinayaka Ahaval, which is a fitting finale.

The Tillana cum mangalam in Behag is a coup de grace with interesting jatis and lyrics, playing on words like ``azhai'' ``Izhai'' ``Uzhai'' and ``ezhai'' and subtle swaraksharas. The entire audience rose to congratulate Ravi Kiran on a peerless production.

The participants were: Ravi Kiran, Chitra veena Ganesh, Lata Ganapati, Savitha Narasimhan (vocal), V.V.S. Murari (violin), Kallidaikurchi Sivakumar (mridangam), T. V. Krishna (morsing).

In Portland Lata Ganapati and her sister Kala Ganapati were the vocalists and earned kudos. At Hamsadhwani, the singing of Lata and Savitha spoke of their enthusiasm and the hard training they had under the maestro.

Perfect coordination

A pleasing veena recital by Ramnath and Gopinath (Iyer Brothers) featured the second day of the festival. This popular pair has been coming to Chennai regularly during the music season and Hamsadhwani is a must in their itinerary.

While Gopinath played an expansive alapana in Kalyani for Swati Tirunal's Pankajalochana (Misra chapu) earlier Ramnath executed a decorative alapana in Nattaikuranji for Ramaswami Sivan's Ekkalathilum.

The piece de resistance was an evocative alapana in Mohana by Ramnath and the duo played a telling thanam before rendering Tiruvarur Ramaswami Pillai's Jagadeeswari. The neraval and swaras gave added charm.

What was noteworthy in their recital was the perfect co- ordination and discipline. Beginning with viriboni varnam, Tyagaraja's Hamsadhwani kriti Raghunayaka (swaras at pallavi) Koteeswara Iyer's Edayaggathi (chalanata) were played with verve.

Vaishnava Janato in Misrakamatch and a Lalgudi tillana in Madhuvanti were the last two items which made a good impact on the audience.

Arun Prakash (mridangam) an ever-supportive artiste combined with N. Sundar (Kanjeera) to give a resourceful tani avartanam.

- K.S.

Send this article to Friends by E-Mail

Section  : Entertainment
Previous : Refreshing violin recital
Next     : Has a long way to go