The embellished song
|
Seasoned singer Vidyabhushana captivated his audience
|
IN STEP Priyanka’s renditions were marked by consistency of bhaava, raga and tala
A melodious vocal recital by the renowned singer Vidyabhushana, which marked the 11th AGM of the Sri Charan Souharda Co-Operative Bank, was pleasing on the ears. The seasoned singer accompanied by M.S. Govindaswamy (violin), H.S. Sudheendra (mridanga
) and Narayanamurthy (ghata) captivated the audience with his favourite songs. His voice was in good form, and he sang with full involvement. He adorned his renditions with all the classical flourishes and ornamentation. As usual the bhaava was intact. The concert began with “Satata Gananatha” (Mohana). A brief overture of raga Hamsadhwani and a rounding off of the krithi with scholarly swaravinyasa, was enjoyable. A brief tani avartana made the delineation of Kalyani a wholesome presentation. The audience was delighted with the singing of “Kaada Beladingalu”, “Baaro Krishnaiah”, “Dasana Maadiko Enna”, “Madhukara Vritti Ennadu” among others.
*****
“Come what may, I will continue with the practice and perfection of Bharatanatya,” said a confident and young aspirant of Bharatanatya, Priyanka Sridhar, born and brought up in the US. She was expressing her joy over her successful and scintillating Bharatanatya performance held at J.S.S. Auditorium.
Her renditions were marked by consistency of bhaava, raga and tala. Her dedication to art and hard work was evident in her every step. With able support from the wings led by her Guru Padmaja Keelam on nattuvanga and the outstanding vocalist D. S. Srivatsa’s singing, Priyanka went through the opening traditional items with ease and poise.
The exposition of a ragamalika jatiswara for about 10 minutes contained varieties of laya and aduvus executed in such a manner as to be envied by even a well-established dancer. The shabda on lord Vishnu provided the dancer an opportunity to display her histrionic talent, which she did through the portrayal of Vamana Avatara, Ramaavatara, Gajendra Moksha and other episodes.
The varna on Devi set to Ranjani raga (“Simha vaahini”) brought to the fore the bright future of Priyanka as an accomplished dancer. She could be awarded full marks for her nritta, nrithya and abhinaya. For good measure and effect, a vachana (“Chakorange Chandramana”) was enacted by Priyanka. Even the Tamil pada on lord Krishna was endearing.
The Dhanasri tillana was a befitting conclusion. She never seemed to be fatigued. She packed the lively tillana with charis, Sundari movements, aduvus in different laya patterns and teermanas. The expanse of the stage was well covered.
M. SURYA PRASAD
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
