Tribute to Swati Tirunal
A. SANGAMESWARAN
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A cultural festival at Irinjalakuda offered a wide variety of music concerts.
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SONG AND DANCE: Nedumangad Sivanandan, his daughter Sindhu and grandson Adarsh.
A three-day festival of music and dance dedicated to Swati Tirunal was organised by Nadopasana at Irinjalakuda. The festivities began with a sopana sangeetham recital by Ambalappuzha Vijayakumar who included a Swati kirti `Kasi Viswanatha' (Mohanam) in his rendition of ashtapadis.
This was followed by a Hindustani recital by playback singer Gayathri. She was accompanied by Hamsa on the harmonium and Roshan on the tabla. She sang `Maaru bihag' and `Kalavathi' before switching to her forte - bhajans, which was well received by the audience.
Rohit Narayanan.
On the second day, a Krishnanaattapada concert by members of Kshethrakalanilayam, Guruvayoor Devaswam, provided a rare opportunity for the public to enjoy this traditional music. Usually these songs are confined to the precincts of Guruvayur temple.
Violin trio
This was followed by Sangeetharadhana by students and devotees and a music concert by Abdul Azeez.
Nedumangad Sivanandan along with his daughter Sindhu and grandson Adarsh performed a violin trio, which mostly comprised Swati kritis. `Devadevakalayami' (Mayamalavagoula), `Padmanabha pahi' (Hindolam) and `Saarasakshaparipalaya' (Panthuvarali) were the main compositions.
It was a moment to cherish as three generations of musicians smoothly blended their skills. They were accompanied by G. Chandrasekharan Nair and his son Krishnachandran on the mridangam.
Anitha Potti, Rachitha Ravi, Sangeetha Gopi, Anupama Menon, and Gopika G. Nath.
This was followed by a vocal recital by Sreeram Gangadharan of Chennai, who sang a la GNB. `Brocheva' (Kamas), `Vasudevayami' (Kalyani) and `Radhasametha Krishna' (Mand) carried the stamp of GNB's style of rendition. The elaboration of Srutiranjini, a derivative of Kanthamani, showed the ability of the singer in handling such rare ragas, and it was followed by the Tyagaraja kriti `Etharisancharinthura.' `Kaarubaaru' (Mukhari) was delivered in slow tempo. Violinist Mahadevasarma won applause for his rich Sruthiranjini. Bangalore Praveen played a short thani on the mridangam.
On the third day, a veena recital by Jayasree Mahesh was followed by a concert by Rohit Narayanan. A bhava-rich Simhendramadhyamam (`Rama rama gunaseema') was the nadir as he detailed it in his inimitable DKP bhani, which was steeped in tradition. `Cheraravathe' (Reethigowla), `Gopalaka' (Revagupti) and `Ranjini raagamalika' were well received by the audience.
It was quite appreciative that five young dancers - Anitha Potti, Rachitha Ravi, Sangeetha Gopi, Anupama Menon, and Gopika G. Nath - all belonging to different schools, performed with dedication and discipline. Their delineation of `Kamalajasya' was superb. Despite the constraints of space and time, they successfully narrated the different episodes of Swati Dasavathara Ragamalika. The dancers performed `Jayajayadevi' (Misrabihak) depicting Goddess Durga, `Neelapurikuzhalale' (Yadukula Kamboji -Utsava Prabhandam) and a concluding Thillana in Bhoopalam. Reju Narayanan (vocal), Venu (mridangam), Nandakumar (edakka), Jinapalan (violin) and Reghunath (flute) supported the dancers.
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