Scholarly rendition
EXPERTISE Neela Ramgopal's performance was remarkable
Veteran vocalist Neela Ramgopal was at her best in a neat and classical vocal recital held at Keshava Sanskrithi Sabha, ISRO Layout during its 11th anniversary celebrations. Her scholarship is marked by neat diction, and right emphasis on the classical aspects. She is an adept singer of Muthuswamy Dikshitar krithis. Moreover she is a faithful follower of the Carnatic tradition and classicism. All these made for good listening experience. The crisp varna in Kedaragowla raga was a good beginning indeed. To handle Begade raga is not an easy task. It requires both expertise and experience to make it a refined rendition. Neela's singing of Begade and the krithi "Vallabha nayakasya" ornamented by kalpanaswaras was a class by itself. Dikshitar's "Nandagopala" swayed the audience. The rasikas enjoyed the delineation of Reetigowla ("Raga rathnamalika") and Varali ("Kamakshi Amba"). Suma Venkatesh (vocal support), M.S. Govindaswamy (violin), B.R. Sridhar (mridanga) and Guruprasanna (khanjari) shone forth as successful sidemen.
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A deep-rooted knowledge of classical Carnatic music, unfailing allegiance to tradition and classicism, grandeur of vilamba kala and widely exposed vidwath are some of the salient features of veteran vocalist S. Shankar's singing. His vocal recital for Girinagar's Shruthi Sindhura Academy led by young mridangist K.V. Ravishankar Sharma was an eye opener for the young performers. With a taut support from S. Ramani (vocal support), C.N. Chandrasekhar (violin), K.V. Ravishankar Sharma (mridanga) and G. Omkar (ghata), Shankar's concert grew in its intensity as it progressed. The planning of the concert deserved commendation.
A few madhyama kala krithis in between vilamba kala keerthanas successfully broke the monotony that might have crept in. Shankarabharana ("Manasu swadheena Mai"), Kapi ("Meevalla Gunadosha") and Kharaharapriya ("Chackani rajamargamu") need a special mention for their neat and tidy rendition. Shankar surveyed the nook and corner of the ragas concerned and highlighted the bright spots with ingenuity.
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There is a singular beauty in dancing in trishra gathi. The jathis and swaras in that gait add a great charm and vivacity to the nritta accounting for a fine fusion of aesthetics and artistry. One could relish this point in a confident Bharatanatya recital by Shubhada, a proud disciple of Chitra Vinod at ADA Rangamandira. Lean and well-built Shubhada moved freely on the stage and visualised her Guru's dance intentions. Pushpanjali and a shloka in trishra laid a strong foundation to her recital. Guru Chitra (nattuvanga), D.S. Srivatsa (vocal) and N. Narayanaswamy (mridanga, it was a treat listening to him) elevated the recital.
Shubhada's abhinaya for a Ganesha stuti (Nata) and a Tamil pada (pharaz) was admirable. One was surprised at the absence of alarippu and jathiswara.
However, the varna in Neelambari raga addressed to Shanmukha set right the things. The virahothkhantita nayika came alive in her enactment. Nritta, nrithya and abhinaya were of a good standard.
A rare krithi on Goddess Saraswathi (Saraswathi raga) and a Purandaradasa pada "Gummana kareyadire" stood out for the dancer's histrionic talent. Srivatsa's tillana composition in Desh raga and the pancha bhootha mangala were enthralling.
M. SURYA PRASAD
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