Felicitous charm
A. RAMALINGA SASTRY
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Vocal recitals and dance drama marked the five-day music and dance fete.
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FINE RENDITIONS Carnatic vocal recital by Kalaimamani O.S.Arun
The five-day fete of music and dance of the Visakha Music and Dance Academy got off to a grand start last Saturday in its auditorium Kalabharati with a function to mark the presentation of the national eminence award instituted by its Trust Board. The VMDA title `Naadavidya Bharati' was conferred upon Naadavidyaanidhi Nedunuri.
Nedunuri, in association with his prime disciples Malladi brothers (Sriram Prasad and Ravikumar) and Komanduri Venkatakrishna from Tirupati on violin, Maardhangika Vidwanmani Vankayala Narasimham (mridangam) and B.V.S. Prasad of Vijayawada (morsing) rendered a recital later.
Starting with the Kalyani-varnam, Nedunuri rendered Kavi Maatrubhootayya's composition Neemadichallagaa (Anandabhairavi) and Telisi Ramachintana (Purnachandrika) before he captivatingly came out with an expansive expatiation of Paluvichaaramulela of Annamayya set to exquisite music that he composed in Shanmukhapriya in Khandachapu.
Sustaining the devout fervour Nedunuri, concluded his recital with the rendering of Ramajogimandu of Ramadas (Khamas).
Dance drama
The second day witnessed a Sangeetha-nritya roopakam, Aadi Sanakracharya, presented by about 50 amateur artistes of Sumadhura Kalaaniketan, Vijayawada.
Scripted by Dhulipala Amareswara Sarma, well set to music by N.Ch.B. Acharya, meaningfully choreographed by Ch. Ajaykumar and directed by H.V.R.S. Prasad, it proved to be a laudable effort dramatising almost all eventful episodes in the life of the Jagadguru.
The third day featured a vocal recital by Kalaimamani O.S. Arun in the company of Ambika Prasad on violin, Kumbhakonam A. Saravanan (mridangam) and Kirankumar (tabla, all from Chennai), the inclusion of which appeared rather fanciful as Arun neither did render any thing in the Hindustani baani nor it contributed any special effect.
Arun has a melodious voice that not only can easily cover over two octaves but also negotiate all closely knit Sangathis and Gamakas even in high speed with felicitous charm. His Manodharma replete with the purposefully cultivated element of romanticism in expression aided with dramatic intoning of the lyrical phraseology cast an enticing spell on the listeners in Kalabharati.
Getting off to a tuneful start with Sriganapathini (Sourashtra), he elaborated Nannubrova (Abhogi) and Endukupeddala (Sankarabharanam), rendering Merusamana (Maayamalavagoula) and the Sriraga Pancharatna kriti Endaro Mahaanubhaavulu in between. Prasad on violin provided a treat of some real classicism ordained in the format of exposition of carnatic music.
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