Music and dance fiesta
HARISH BAL
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`Vasanthotsavam' proved to be a celebration of dance and music by maestros.
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STERLING PERFORMANCES: Priyadarshini Govind, one of the performers who participated in `Vasanthotsavam.'
`Vasanthotsavam' in Kochi was an aural and visual feast owing to the participation of some of the greats in Indian music and dance who participated in the festival. The inaugural concert was by Dr. M. Balamuralikrishna who took time to unfurl the initial varnam in Gambheeranatta. `Bagayanayya' in Chandrajyoti raga was followed by a melodic treatment of Deshakshi in the maestro's characteristic modulated style of singing. The Swati Tirunal composition `Saraseeruhanabhamudaram' was followed by Lavangi raga. The vocalist was in his element in his brisk and vigorous rendition of this scale with four notes. Attukal Balasubramanian on the violin ably accompanied the vocalist for this rarely performed raga. Dr. Balamuralikrishna also sang a plaintive, sensuous folk number `Sethuralinga.'
On the second day, Ghulam Ali's concert had a mix of heavy and light numbers. He began with `Main khayal hoon kisi aur ka,' which had swift sargams and tihais. Ghulam Ali stole the show with the evergreen number `Chupke chupke raat din.' `Chamakte chaand ko,' which was featured in the film `Aawargi' was sung in a pensive vein. This was followed by `Hangama e kyun barba' in raag Darbari.
Magnetic voice
Dr. M. Balamuralikrishna.
Shubha Mudgal swayed the audience with her magnetic voice on the third day. Her khayal in Maru Behag was quintessential to the core and the clarity of the taans and murkhis stood out remarkably. The sparing use of the `theevra madhyam' heightened the raga rasa. Anish Pradhan, the vocalist's husband, gave an impeccable performance on the tabla, in the madhyalay and drut khayals `Man moh liya.' The vocalist's penchant for folk music found expression in a thumri in Maand `Aayee saawan ki bahaar' and dadra `Sundar si sari mori mayke mein mail gayi.' The singing and the rhythm reached a crescendo in `Kare kaun bahaana.'
On the fourth day it was the turn of Mohiniyattom dancer Bharati Shivaji's to captivate the audience. Her performance started with `Balaganapathi,' which was followed by a pure `nritta' piece `Mukhachalam.'
Commendable recital
Ghulam Ali.
The Swati Tirunal padam `Enthu mama sadanathil' saw the danseuse as the khandita nayika. The dancer's ability to blend her movements well with the music and rhythm is commendable.
`Omanathingal kidavo' was articulately enacted by the dancer. Indigenous talas of Kerala like Ayadi formed the base for the last percussion piece for the dance.
The main piece of Priyadarshini Govind's Bharatanatyam recital was Papanasam Sivan's varnam `Swami naan unthan adimai.' She gave vigorous movements of the thandava for the panchakshari mantra `Om namah shivaya.' In the anupallavi `Nama paname,' she charmingly depicted the effect of `Shivanama' on the nayika. In the javali 'Nee mataleni mayanura,' she depicted the kalahantarita nayika.
Ratikant Mahapatra, son of the illustrious Kelucharan Mahapatra, with his troupe 'Srijan' performed Oddissi dance on the final day of the festival. Ratikant and his wife, Sujata, performed two pieces in the dance drama tradition. In `Jatayuvadh,' the dancers switched roles at random. Ratikant played Ravana and Jatayu, and Sujata enacted Rama and even that of Ravana at certain places. Ratikant lithely displayed the movement of the `Pushpak,' the flight and valor of Jatayu and his heroic death.
Effective portrayal
Ratikanth Mahapatra and Sujata Mahapatra.
In `Choodamani pradhan,' Ratikant effectively portrayed Hanuman, his bedlam in the garden and so on.
`Allah,' sung by Aruna Sayeeram, was performed by the troupe that presented a marvelous confluence of Islamic concepts, Oddissi dance and Carnatic music.
The festival was organised for the second consecutive year by the State and Central Tourism Departments, and the District Tourism Promotion Council.
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