Ending on a good note
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The Music and Dance festival concluded with an i mpressive jugalbandi and dances.
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A UNIQUE Hindustani and Carnatic vocal `jugalbandi' was presented by Sriram Parasuram and his wife, Anuradha Sriram, to mark the conclusion of the festival hosted by the Andhra Music Academy. Both Anuradha and Sriram are conversant in both styles of Indian music.
Sriram and Anuradha sang on this occasion with the touch of mastery that their learning has given them.
The `Ahir Bhairav' and `Chakravakam' presented in Carnatic and Hindustani styles constituted an enjoyable fare.
They concentrated more on projecting the beauty spots of these `ragas', in the individual styles they were singing in. A short `khayal' in `Ahir Bhairavi' and `Gajananayutham' in `Chakravakam' with `Akar taans' and `Sargam' were a treat. K.V. Krishna on the violin, D.S.R. Murthy on the `mridangam', Surendra Bharathi on the harmonium and Srikanth on the `tabla' also played with understanding.
`Varali Multani' was another combination they played. `Eti Janma Midi' and a `Kabir bhajan' were well rendered.
A `tarana', a `Sindhu Bhairavi' number and a short `Bhairavi' composition in Hindustani, marked the rest of the concert.
Excellent technique
Also earlier the academy hosted two dance recitals one in Bharatanatyam and the other, Kuchipudi. Rajeswari Sainath, was chosen to present the Bharatanatya solo, while the Chennai-based Kuchipudi exponent, B.V.S. Lakshmi Mani came out with drama oriented traditional numbers of Kuchipudi. Thus, the audience enjoyed the technical excellence of Rajeswari's presentation, while Lakshmi gave plenty of idioms of `abhinaya', on the child Krishna and other episodes in her brief presentation.
Rajeswari's presentation in textbook idiom, going through all the facets of `nritta', `nritya' and `abhinaya', gave enough space for the exhibition of `karanas' and `laya' in her presentation of `jatis' in variegated rhythmic structures.
Rajeswari's `Nrityanjali', a pure dance number, gave a right kind of opening. She then chose Balamurali's `Pari Pari Neepadame' more like a preface that helped her to warm up for the subsequent and main number, a `varnam' `Devi Kamakshi'.
The `teermanams' were thrilling. Then came the `abhinaya' oriented piece, `Nagumomu' of Thyagaraja in `Abheri'. A `thillana' in `Charukesi' was a well-crafted presentation.
Keeping in view that she was presenting her recital on Republic day, Rajeswari aptly closed her deserving recital with a specially choreographed `Vande Mataram'.
Rajeswari had good vocal support from vocalist Murali Parthasarathy and the `mridangam' player Nagai Narayanan, both from Chennai. Chander Rao's violin and Ravi Kiran's flute strengthened the orchestral impact.
Ranjani Seshadri, trained well in `nattuvangam' by Rajeswari conducted the show, displaying grip and balance on rhythmic art.
Fine Kuchipudi
On the penultimate day Lakshmi Mani presented four numbers including the opening traditional invocation to Lord Vinayaka. She was at her best in "Govardhana Giridhari", a Tarangam. The other notable item from Lakshmi was a "Kshetrayya Padam". This was presented in slow tempo and the vocal support from the wings made the lyrical part more clear.
A composition of Annamayya ""Tiruveedhula Velase Devadevudu" in Madhyamavati, choreographed by Lakshmi herself was added to the repertoire. This was the final programme of the mammoth festival that's worth remembering.
GUDIPOODI SRIHARI
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