Nifty concert
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The past week witnessed a bevy of music and dance programmes, where young talent came to the fore
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Exemplary performance Suhasini Krishnamurthy and team did their guru proud
The evident enjoyment of the young vocalist-engineer G. Ravikiran was infectious and established an instant rapport with the audience at the Vani Vidya Kendra, Rajajinagar, when he sang for the Sangathi Music Festival organised by Ananya with Sri Th
yagaraja Gana Sabha. The annual festival is held with the cooperation of other music sabhas of different localities of Bangalore.
In this series, Ravikiran, a protégé of veteran vocalist R. K. Srikanthan and T. M. S. Krishnan, aptly chose the ragas and compositions to drive home his innate talent and expertise. The singer engineered his concert in a fetching manner. His took off with the grand Begade number “Vallabha nayakasya”. “Dwaithamu sukham” in Reetigowla contributed to the classical weightiness of the recital. The raga vistara in Varali projected Ravikiran as a merited singer.
The following Dikshitar krithi “Seshachala nayaka” was extended further through sahitya and swara vinyasas. A crisp “Marugelara” paved the way for a masterly exposition of Kambhoji.
The royal “O Rangashayee” appeared next. The real worth of an artiste is exposed in vilamba kaala. So it was with Ravikiran. His grip over laya was commendable. “Manamatiyu naanu” (Valachi) was emotion-filled. Suneetha Ramabhadran (violin) was an excellent accompanist. B.C. Manjunath (mridanga) and G. Omkar (ghata) imparted enthusiastic support.
*** Excellent group choreography, music and dancing marked a feature on “Rani Shanthale” presented by the artistes of Sri Vivekananda Kala Kendra led by Shwetha Nagaraj Harsha at Ravindra Kalakshetra during the 10th anniversary celebration of Gunagrahi. Building the storyline on the compositions of D. V. G’s “Antahapura Geethegalu”, Kendra’s secretary V. Nagaraj’s conceptualisation and direction were made rewarding by the dancers.Using aptly the medium of Bharatanatya classical ragas, the verses were tuned to a unfolding of the theme. Shwetha’s satwikaabhinaya, in particular, was the highlight of the feature. It was an audio-visual treat.
The evening began with an impressive Hindustani vocal recital by M. Vageesh Bhat. Blessed with a melodious voice Vageesh regaled the audience with his rendition of bhajans composed by Shyamala Bhave, Tulasidas, Narayana Teertha, and Purandaradasa with classical elan. Gurunandan Kalyanapur on tabla was supportive.
The curtains came down with a performance by students of guru Revathi Narasimhan led by Kripa Shah. Suhasini Krishnamurthy, L.S. Prakrithi and Lavanya Vijayakumar with Kripa did their guru proud with their disciplined renditions, and exemplary dancing skills. The opening Pushpanjali and Ganesha stuti (“Sri Vighnarajam bhaje”) were a memorable experience. Their synchronisation was noteworthy. Assisted by recorded musical support, Suhasini (“Bho shambho”), Prakrithi (“Devi nee”), Lavanya (“Shringapuradheeshwari Sharade”) and Kripa Shah (“Aadidano ranga”) excelled in their solo renditions. The concluding tillana became a victim of a technical snag in the recorded musical CD.
M. SURYA PRASAD
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