Rhythm of finesse
GUDIPOODI SRIHARI
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SICA presented the best of flute and dance recitals.
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Photo:G. Krishnaswamy
Chords and notes Jayaprada on the flute
For a change, SICA, (South Indian Cultural Association) has gone for a high quality dual programmes of local talent - Jayaprada Ramamurthy’s flute recital and a time tested ballet Rukmini Kalyanam, in Bharatanatyam style by G
eetha Ganesan and her troupe. The programme was held at Ravindra Bharathi on Tuesday night.
Most important aspect in Jayaprada’s style of play is the shruthi and tonal perfection and then playing the instrument like smooth flow of musical sounds. The repertoire, though concise owing to time schedule, was a satisfying
choice and traditional and popular one with raga essays of Kalyani and Hindolam. Opening with Navaragamalika varnam, she chose Ganamurthe of Thyagaraja in Ganamurt
hi raga. The Hindolam piece, Govadhana Gireesam of Deekshitar in Rupakam was the first satisfying piece of classical flavour. She gave a brief essay of the raga and again continued its melodic
appeal in her swara prasthara later after the kriti play. Then she chose Kalyani for a major essay for the popular number of Thyagaraja - Etavaunara. The essay was melodious and
kriti was explicit even on her flute. And the Nereval and swara kalpana she presented at this stage were both evocative. While Pibare in Ahirbhairavi marked t
he end part, Balamurali’s brisk Tillana in Brindavana Saranga gave a thrilling finish to the programme.
B.S. Narayana on violin and M.L.N. Raju on mridangam displayed their expertise.
Geeta Ganesan’s troupe presenting the ballet.
This episode of Rukmini’s elopement with Lord Krishna has been the most sought after one, basically because it has plenty of drama created by many characters. The cast on the stage appears to be around 20 members. The tale has all the touches of a contemporary love story. While some authors penned this in verse and drama, some chose slokas or verses from Maha Bhagavatam penned by Vyasa and also songs from Srikrishna Leela Trangini of Narayana Teertha and ma
de them into their script, not to loose its sanctity. Geetha Ganeshan did the same. She has a good team of dancers. Suvarchala played Sri Krishna while the choreographer-director Geetha played the title role, Rukmini. While these two prime roles are almost in constant view - the other role of Rukmini’s brother Rukmee, who plays villain in her life and Balarama another important character were played by Saritha and Sushmita respectively. There is a crucial role of a Brahmin who carries an S.O.S. message from Rukmini to Srikrishna appealing to the Lord, to take her away from her parents home. This particular episode was worth watching. The battle scene is squeezed into shortest form, but the impact of a climax was retained.
Geetha has a lot of academic and artistic background, which she used aptly to shape this drama well. It is more costume drama and sought the services of technicians. Geetha played the main role quite movingly and the musical support by Prema Ramamurthy was a worthy contribution to the drama. The girl who played Srikrishna was adequate. All the students in other roles appeared to have been trained well for the occasion. A good production indeed.
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