Photo: Shiv Kumar Pushpakar
DISCIPLINED Nirupama Rajendra’s performance was a near perfect one
It is worth noting that skill is important in for classical music. Carnatic music demands much of it from its practitioners.
All this seemed to be proved in the positive in a veena performance by Rudrapatna Keshavamurthy Prakash at Old Sri Shringeri Shankara Mutt, Sultanpet, presented in connection with the Kumbhabhisheka of Sri Chadramowleeshwara temple. Sri Bharathi Teert
ha Swamiji performed the rituals and blessed the devotees. The programmes held under the supervision of a committee headed by a noted banker B.V. Dwarakanath and vedic scholar Ganesha Somayaji culminated into the veena performance which was marked by Carnatic character and cleanliness.
Hailing from a traditional family of musicians, Prakash has a remarkable manodharma. Aptly accompanied by Ullur Nagendra Udupa (mridanga) and Rajiv (ghata), the concert was dignified and in tune with the norms of classical music. The artiste’s effort was well directed to keeping the presence of traditional classicism in the forefront. It was not showy but authentic. As usual his rendition of “Vatapi Ganapathim” with all the laya-bhava flourishes stood through it all in self-indulgent artistry. There were several ingenuous sangathis. The swaras had scholarly dynamics. The ragas like Sri (“Endaromahanubhavulu”), Abheri (“Nagumomu”), Hindola and others added dimensions to the concert.
*****
Sophisticated lighting, colourful costumes, well perfected technique of Bharatanatya and Kathak, a fine choreography, synchronising group performances et al captivated the audience when young and popular dancer-couple Nirupama and Rajendra led their show at the Fort High School playgrounds for Sri Rama Seva Mandali.
Tyagaraja’s “Jadanandakaaraka” (Nata) is a majestic krithi knit in a formidable format. But the way it was adapted to dance needed a thorough review. The rendition of a few ugabhogas and dasara padas by Niru-Raju combine opened up a graceful and lovely world of dance but the element of devotion seemed to get secondary importance.
Hindi saint-poet Tulasidas’ description of the first meeting of Sri Rama and Seetha in his Ramayana is dignified and disciplined. Rama has been glorified as Maryada Purushottama. But Nirupama’s explanation seemed to miss a few important links. And the dance adaptation with Rama and Seetha getting lost in the dream sequence was a mismatch. However, in the same breath, I must say that Nirupama and Rajendra’s dancing was elegant, exemplary and excellent. The dance was as graceful as it was vibrant with a refined vocabulary and technique.
M. SURYA PRASAD
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