Of carved moments
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The dance performance and the shehnai recital were able presentations
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RICH MUSIC Throughout the concert Yallappa’s originality was in the forefront
Beautiful dance lines, appropriate mental preparation, all the necessary physical attributes, committed classicism and almost precise laya greeted me when I witnessed an admirable Bharatanatya performance by Rashmi Rajashekhar at the Yavanika under t
he EFCEP series.
Trained under guru Lalitha Srinivasan, Rashmi rose to great heights with her involved renditions. Rashmi set the ball rolling with invocatory items, immediately followed by Shachi’s neat description of a Dikshitar krithi “Govardhana Gireesham” (Hindola). With a popular Sanskrit shloka (“Kasturi tilakam”) preface, the joy and festivity of Sri Krishna leelas were underlined in a praiseworthy abhinaya by Shachi.
A desperate nayaki is taking her nayaka into task. Based on the famous Dhanyasi varna (“Ee maguva”) Rashmi excelled in its three-tiered interpretation.
Though her abhinaya needs to be well directed and honed up for the evocation of satwika abhinaya, she could give vent to the inherent bhava.
Anusri was herself in the rendition of a kriti by Annamacharya in praise of Lord Narayana “Srimannarayana” (Bhauli).
The manner in which she dealt with the line “Paramatma Paramaanuroopa” drew the thumbnail picture of Dashavatara attracted the attention of the rasikas. Rashmi once again captured the emotional intensity of Radha on the basis of a Jayadeva Ashtapadi tuned in Mohana, Reetigowla, Saranga, Kaanada and Suruti ragas “Viharathi vane Radha” (“Raase Haririva”, “Sancharadhara”).
Joyous abandon, varied aduvus, charis and greeva bedhas artistically filled up the concluding Kadanakutoohala tillana expounded by all the three dancers together. Ajay Vishwanath (nattuvanga), Maithili (vocal), Madhusudan (violin), Ashwathanarayana (flute) and Chandrasekhar (mridanga) imparted seasoned accompaniment.
*****
Despite a couple of unmusical sounds, for which the instrument is prone to, Young Yallappa N. Koramara, went through the phases of his shehnai recital with great success. The auditorium vibrated with rich music.
Like Ustad Bismillah Khan he also had an impactful dhim (a dholak like instrument played by Shivappa), tabla (Puttaraj) and Kani (Lakshman). M. K. Satish, who played on the second Shahnai.
As expected raga Yaman was delineated in detail. The elaboration of dheema (vilambit) and drut teentaal meandered through the classical path.
There were Khan-like phrases too. But still, Yallappa’s originality was always in the forefront. It never turned out to be a mere imitative effort. The beauty of the raga was enchanting under the canopy of a strong laya.
Playing of a dhun (exclusively an instrumental composition) in Hindustani instrumental recitals is quite common.
Accordingly Yallappa won the applause of the listeners with his artistic Khamach dhun.
M. SURYA PRASAD
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