On the right track
COMPETENT PERFORMER Shubratha's performance was fluid and reflected her confidence
K.S. Shubratha, in honour of her guru, Dr. Vasundhara Doraswamy, presented Bharathanatya under the auspices of Vasundhara Performing Arts Centre. Guruvandana was her maiden performance akin to Rangapravesha.
It is only after having gained a fair amount of exposure, by successfully participating in many of the acclaimed choreographies of her teacher, that she is formally on her way of entering into an art career backed with a justifiable competency.
Appreciable fluency along with the growing confidence she exhibited on the stage combined with an inbuilt sense of refinement took care of the nriththa sections. This prevented the performance from being undermined unawares by any overzealous physical activities.
Similarly, a well-bred mild disposition took her on the right path of being pleasingly expressive in the nrithya sections, as carefully nurtured elegance would naturally prompt a refined and dedicated artiste.
Possessed with the above aesthetically balanced awareness she presented a varna in Kannada, " Swamiya Karethatre" (Amrithavarshini - Githa Sitharam). Personifying a virahotkantitha nayaki, the artiste described the character's fervid longing for her Venugopalaswamy — the divine object of sublime love.
Likewise madhura bhakthi was the theme of a Kauthava based on the story of Sri Krishna and Godha Devi.
"Pahimam Shri Rajarajeshwari" (Janaranjani - Mahavaidyanatha Iyer - Vaiyaicheri Ramaswami Shivan), Tulasidas Bhajan (Yamunakalyani) and "Neenyako Ninna Hangyako" (Ragamalika, Shri Purandara Dasa) were other interesting inclusions.
P. Rama's inspiring singing, Vasundhara Doraswami's to the point nattuvanga, H.S. Thandavamurthi's fine violin touches, Tumkur B. Ravishankar's resonating mridanga and Rajesh's flute added lustre to the show.
Mysore V. Ambaprasad gave his violin concert under the aegis of Shri Shankarajayanthi Sabha on the occasion of Shankarajayanthi celebrations.
He kept his narrative style artistically simple and the scholarship was directed at delivering a pleasing and melodic recital. A propensity to give importance to the lyrical aspects, having conceived it as the very foundation of a divine music, rendered his presentations gentle and convincing.
He started his recital with Navaragamalika Varna - "Valachi Vachi" (Patnam Subrahmanya Iyer). The very beginning itself sufficiently revealed his expertise and control over the instrument - the akaras and the graces fluently emerged with clarity and subtleness.
Alapanas in Kamboji ("Lambodaram Avalambe" - Mysoru Vasudevacharya) and Keeravani ("Devi Neeye Thunai" - Papanasam Sivan) exemplified the artiste's penchant for a traditional style. Unhurried narration progressively unfolded the essences of the ragas while being delineated at various levels of the scales.
Still, pronounced but gentle stress on rishabha and nishadha in particular, and liberal but judicious usage of jaru and kampitha gamakas in general, would have alluringly exposed the grandeur of Kiravani.
"Manasa Sancharare" (Sama — Sadashiva Brahmendra) and "Saraswathi Namosthuthe" (Saraswathi- G. N Balasubramanyam) went in accordance with the meanings and the moods the lyrics.
With a sprightly demonstration of dexterity he presented "Sarasa Sama Dana" (Kapinarayani - Shri Thyagaraja) and "Manavyalakim" (Nalinakanthi - Shri Thyagaraja).
Bhargava (mridanga) and S. Manjunath ( ghata) accompanied the artiste
V. NAGARAJ
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