Bright flourishes
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Mowna’s rendition of Hindustani classical music was learned, and Mukta was competent in her dance recital
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It is noteworthy that there has been a parallel, happy and healthy growth of Hindustani music along with the Carnatic music in the musical scene of the State. There are many young talents and Mowna Ramachandra who sang at the Yavanika for her voca
l recital under the Every Friday Cultural Evening Programme series. Initially trained under Pt. Arjunsa Nakod of Dharwad and now continuing her learning under the guidance of the noted vocalist Veena Sahasrabudhe of Mumbai, Mowna regaled the rasikas with her bright singing. Besides the classicism, her artistry was also vibrant and vivacious. An engineer by profession, Mowna, an ambitious upcoming singer, demonstrated her ingenuity in her musical phrasings. Endowed with a melodious voice, she drew the attention of the listeners with her dedication and unsullied and original expressions. She never tried anything just to placate the audience. Hence the flow of music was quiet and calm. The detailed delineation of the opening Pooriya Dhanasri was followed by a wholesome Kedar raga.
Aptly accompanied by Vyasamurthy Katti (harmonium) and Rajendra Nakod (tabla), the rendition of two Khandani (traditional) bandishes in raga Kedar of the Kalyan That was endearing. “Kaanha re nanda nandan” (Madhyalaya teental) brought in the stage by stage progression of the raga and appeared in its full bloom in the drut teental bandhish “Chatura sugara”. The systematic development spoke of the skilful vocalism of the singer. To sing a Meera bhajan and create an impression, it requires a melodious and soulful voice. Mowna’s presentation of “Mathvaaro badar aayo” had those ingredients as much as needed. The emotional intensity could stir the hearts of the audience.
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The Bharatanatya recital by the twelve-year-old Muktha Ghorpade at the Indian Institute of World Culture was neat and tidy. Muktha trained under the able guidance of Natyamani School of Dance’s Sridevi Ajay Tirumale , oozed self confidence and conviction, clear understanding and precise execution of the technicalities of the dance form. With this, she won the rasikas admiration.
The varna in Nattakuranji vouched for her hardwork and accomplishment. Her feet and the anklets responded positively and correctly to the rhythmic calls of her Guru Sridevi. Added to this was the evocative support lent by Balasubramanya Sharma (vocal), Jayaram (flute) and Janardhana Rao (mridanga).
Muktha freely etched the varied forms of Lord Vinayaka with ease and aplomb. “Madhava maaya Madhava roopa” (depiction of the grandeur of Krishna) and the grandness of Seetha-Rama swayamvara on the basis of a Marathi pada shone forth in her abhinaya. The dancer struck with grace and poise various forms of the Devi (“Durge Durge Jaya Jaya”, Revathi raga) and continued to round off her recital on a delightful note with a tillana in Brindavani raga.
M. SURYA PRASAD
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