Fine balance
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Both the dance recital and the vocal performance in Mysore, by young performers, were very competent
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CONVINCING Bhargavi proved her mettle
Bhargavi Muralidhar, a disciple of Kripa Phadke, an acclaimed exponent of Bharathanatya, entered the stage equipping herself with the necessary expertise indispensable in the making of a proficient Bharathanatya dancer. Nrithyagiri Performing Arts an
d Research Centre had arranged her Rangapravesha.
The young artiste, watchfully tutored and carefully moulded to conform to good taste, proved her mettle on stage, and realised her commitment and dedication by enlivening all her presentations.
Jatiswara in Vasanta after the Pushpanjali, served as one of the best examples of her quick reflexes harmonising with rhythm, and of suppleness while describing the nearly-complete vinyasas. She demonstrated the Nritha Hastas clearly revealing their sharp features. However, it called for keen attention as far as their relative placements were concerned.
With intense involvement, she convincingly portrayed Virahotkantitha Nayika in the Padavarna – “Nandagopala”s (Bhairavi). In this presentation, the choreographer has delicately struck a balance between the nritha and the nrithya sections; and the dancer enthusiastically materialised her guru’s visualisation.
Whereas the above ones along with “Ramachandrakripalu” (Yamankalyani - Tulalsidas) and “Kolaloothi Manamellam” (Kamboji - Oothukkadu Venkatasubbayya) broadly stood for lasya, “Dhavalagangeya Gangadhara” (Kamavardhini - Vadirajaru) created a fertile ground on which both the thandava and bhakti thrived.
Tillana (Hamsanandi-GNB) concluded the programme which was supported by Guru Kripa Phadke (nattuvanga), Rajeshwari Pandit (vocal), H.L. Shivashankara Swamy (mridanga) and Jayaram (flute).
Bharath Sundar sang at Shri Krishna Gana Sabha, accompanied by Parur Anantha Krishna (violin), Rajna Swaminathan (mridanga), and V.S. Ramesh (ghata). The young artiste has a well-cultured voice though it muffles in the mandra sthayi. The vocal inflections are sharp, crisp and the reflexes are quick to meet the requirements of his style and extempore.
The concert leaned towards technical aspects of singing. Eventually, when this predisposition was further reinforced by faster paces, the lyrical aspects in matters of clarity and significance receded into background.
He began with “Eranapai” (Thodi - Patnam Subrahmanya Iyer). Animated akaras, deep graces, vivacious accentuations and terse sancharas revealed over all grit and control over both the swarasthanas and rhythm. In the above passage, the percussionist’s vibrant beats added lustre to the presentation, exerting a firm grip over the audience. Nevertheless, the scene changed when the above ardour percolated into compositions which required delicate handling.
A slower pace from the beginning of the kriti “Vallabha Nayakasya” (Begade- Muthuswami Dikshitar) would have rendered it acceptable from all angles. The opted tempo could not clearly accommodate the madhyamakala passage – “Valli Vivaha”.
He elaborated “Idu Bhagya Idu Bhagya” (Pantuvarali-Purandaradasa) with dedication, but, considering the overall gentle tone of the text, the neraval at “Vasudhisha” was an overkill with a spate of akaras and intricate manoeuvrings.
Likewise, speed without sufficient pauses while elaborating “Kaddanuvariki” (Thodi, Thyagaraja) resulted in laboured breathing (suthkari) leading to unnecessary anxiety.
Importance to lyrics stressing on clarity, meaning and moods, further being strengthened by composure would have advantageously realised Bharath’s competence and expertise.
V. NAGARAJ
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