Fluidity of style
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Youthful zeal, graceful movements, innate talent and subtlety marked Pavithra Krishnamurthy's performance
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GLOWING EXPRESSION Pavithra Krishnamurthy
It augurs well for Bharatanatya that young aspirants are taking up this dance form seriously. Their sincerity of purpose only gets exposed in their stage performances.
One more such dancer was added to the list when Pavithra Krishnamurthy, in her early teens made her bow at the ADA Rangamandira.
Successfully trained under an able Guru Neela Jayaram, it was evident from her performance that she had imbibed the important subtleties of the dance form.
Youthful zeal, fluidity in her movements and innate talent marked her Bharatanatya. The Jatiswara by the Tanjore Quartet in Kalyani raga set to trishra eka tala brought out her skills. Variety in the laya patterns translated into aduvus drew the attention of the rasikas.
Thyagaraja extols Lord Shiva in his Kamavardhini gem-krithi "Shambho Mahadeva." Pavithra provided a glowing expression to it with a shloka ("Kripa samudram") prelude. The tale of Bhakta Markendeya was shown as sancharee.
The famous daru varna by Muthaiah Bhagavatar in Khamach raga "Maathe Malayadhwaja" had some novelty in the nritta and abhinaya based on the text of the composition. The Goddess Parameshwari's greatness could be visualised in the dancer's enactment. Guru Neela Jayaram (nattuvanga), D. S. Srivatsa (vocal), Natarajamurthy (violin), Narasimhamurthy (flute), Srihari (khanjira) and Narayanaswamy (mridanga) accompanied the dancer with intensity of emotions.
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Renowned singer Vidyabhushana was in fine fettle at his vocal recital for Nadaranjini Sabha, Basaveshwaranagara during its eight-day Kartihikotsava.
He was melodious too. Suitably supported by B. Raghuram (violin), C.Cheluvaraju (mridanga) Sukanya Ramgopal (ghata) and L. Bheemachar (morsing), the veteran vocalist began with a Ugabhoga followed by Purandaradasa's "Satata Gananathana." The rarely heard Bahudari raga was elaborated for Thyagaraja's "Brova bhaarama." Scholarly kalpana swaras beautified the krithi.
His manodharma fully opened up in the rendition of "Rama Raghukulabdhi Soma" with raga alapana. A beautiful cascade of sangathees of the line "Sangeetha gaana Vilasini" were notable in the presentation of the Kannada krithi "Paalisemma muddu Sharade."
The repetition of the Mohana was the highlight of the recital. Vidyabhushana explored the features of the raga from every angle. There were many touching moments in the alapana. "Rara Rajeevalochana Rama" was ornamented with sahitya and swara vinyasa.
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Veteran dancer Acharya H. R. Keshavamurthy who passed away recently, was remembered in a dance programme held at ADA Rangamandira under the aegis of Keshava Nrithya Shaala.
His dream-project of throwing light on the aduvus of Bharatanatya was brought out in the form of CD and released on the occasion.
Keshavamruthy's grand children Vidya Venkataram and Raghunandan rendered homage to their grand father-Guru.
The duo regaled the audience with their Bharatanatya duet and also by rendering a few Kannada compositions by the veteran maestro.
Accompanied by B. K. Vasanthalakshmi (nattuvanga), Balasubramanya Sharma (vocal), Narasimhamurthy (flute), Hemanthkumar (violin), Janardhan (mridanga) and Srihari (morsing), the duo began with a traditional pushpanjali. Vidya and Raghu thrilled the lovers of dance in the exposition of a demanding Sapta tala jatiswara composed by HRK.
There was variety in aduvus. Anga shuddhi and execution of mukthayees deserved a pat on the dancers' back. Navarasas were effectively depicted on the basis of "Navarasaadraaya Rama Seetha Manohara" in ragamalika.
The dancers exhibited their nritta, nrithya and abhinaya prowess in the delineation of HRK's Kalyani padavarna "Ninnane nambie naanu" addressed to the Kaadu Malleshwara of Malleshwara.
M. SURYA PRASAD
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