Bhava dominates the show
RUPA SRIKANTH
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Narthaki Natraj's natural talent helped her portray sentiments with passion.
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Narthaki Nataraj. Photo: S. Thanthoni.
It rained paasurams in Narthaki Natraj's dance recital releasing a flood of bhava that overwhelmed any other consideration in its path. While the selection of the verses themselves suggested deeply felt passion, Narthaki's natural talent nurtured the text as a gardener would a tender shoot, so that the sentiments could bloom in full glory.
The dancer carries a certain dignity with her on stage. She is sufficiently graceful but there could be more effort in the execution of adavus. Having been a disciple of the renowned Kittappa Pillai, her instincts have been honed with care, but there is a trace of indulgence in the theermanams performed sans the basic araimandi stance.
Not surprisingly, the programme was geared to present her in the best light and thus favoured the narrative. An unusual heroine in Devaki in Kulasekara Azhwar's Devaki Pulambal paasurams composed in Madhuvanti raagam, Misra Chapu taalam by S. Rajeswari, brought out the best in the dancer. Devaki's lament over her misfortune at missing Krishna's childhood leelas was captured with sensitivity.
Ardent devotee
A Papanasam Sivan kriti ``Saravanabhava Guhane" in Madhyamavathi ragam, Adi talam, was presented in place of a varnam with the Thanjavur Quartet nritta passages punctuating the composition. Even within the limited purview of the sahitya, Narthaki created an impression of an ardent devotee who has surrendered himself to Muruga. The charana swaram composed by T. V. Sundaravalli was notable for its trikaala treatment that allowed the beauty of the ragam to percolate without marring the solemnity of the kriti. The same treatment in Maha Vaidyanathier's 108-akshara Kannada tillana treated the viewer to a gradual build up of pace and gave time to savour Chitrambari Krishnakumar's excellent melody.
A taniyan ``Kolasuri Sangai" to Nachchiar Tirumozhi, ``Undu Madakalithran," Andal's paasuram pertaining to the day of the recital and a concluding ``Thiruaadipurathu" on Andal were the other pieces presented.
Narthaki enjoyed the dignified support of Neela Sukanya, (nattuvangam), Karthikeyan (mridangam), Nagarajulu (violin) and Ramana (flute).
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