‘Siva Padam’ at its best
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The Kuchipudi dance drama was an audio-visual feast. P. G. Krishna Murthy
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Samavedam Shanmukha Sarma has composed more than one thousand songs and embellished them with his unique commentary under the title Siva Padam. . The ballet delighted the teeming connoisseurs on August 26 at Ravindra Bharathi. Th
e Kuchipudi dance drama, directed by choreographer Natyacharya Pasumarthi Seshubabu, shone as a rare visual invested with mythological tenor. Its musical and technical perfection was matchless.
Siva Padam, wrought in the traditional Kuchipudi style, began with an invocation to Vighneswaraand goddess Saraswathi. The pallavi in Naata performed by Bhuvanagiri Srividya, Suhasini and Vaibhavi
imported the divine delineation. It was followed by Prabhathavela Gocharinche in Bhupalam by Pasumarthi Sai Deepika. The highlight of the ballet was Rudraayani Manasaara done by Nuti Satyanarayana and Mallikarjun. Th
e nattuvangam by Seshubabu and vocal by Srivalli orchestrated the theatricality . A similar effect was in Sarvadevamayamaindai in raagam Mohana (trisra jati) done by Srividya. The last item came like a banner compos
ition of offering Neerajanam in three parts - Vande Sree Maataram, Sri Lalitha Sivajyothi and Siva Siva Mahadeva - by the artists Sarvasri Sai Lavanya, Lakshmi Bhargavi, Suhasini
, Sai Deepika, Vaibhavi, Haarika, Nikhila, Namitha and Ananya. Auditorium looked like Kailasam with trimurthis and Devaganams on the stage. Phanibala Pasumarthi on violin, V. Sridharacharya on mridangam, Murali on flute, Sudhakar on veena, Srikanth’s special effects, and Surabhi Rayalu’s sets, rendered the whole ballet a grand gala of audio-visual feast to the lovers of art. The conceptualisation and coordination were praiseworthy. .
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