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Young and bold
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Prakrithi performed with expertise and seasoned artistry
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EXPRESSIVE Prakrithi’s recital fully showcased her consummate artistry
It is always a pleasure to watch and write about the progress made by young artistes. In her Bharatanatya recital at the Yavanika under the EFCEP series, the talented dancer L. S. Prakrithi demonstrated remarkable expertise and seasoned artistry. The recital fully showcased her consummate artistry in Bharatanatya. The abhinaya-based “Shringara lahari” (Neelambari) accounted for her neat histrionics. Various attributes of the Devi as shown by Prakrithi impressed the rasikas. The Dhanyasi varna “Nee inda maayam” describes a nayika pining for reunion with her lord and she is lost in his sweet memories. With highly expressive eyes the dancer could capture many a sentiment with ease and effect. Proportionately supplemented by nritta and nrithya, Prakrithi’s abhinaya glowed with the required nuances. She was a profound self in the rendition of “Kande Karunaanidhiya” (Hamsanandi) and Tanjavur Quartet’s “Muttuvaddura” (Saveri javali).
The traditional Kaanada tillana was a successful proposition. Guru Revathi Narasimhan (nattuvanga), Bharathi Venugopal (vocal), Jayaram (flute) and Janardhana Rao (mridanga) excelled as accompanists.
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The State of Karntaka (Mysore) is known for its fine veena tradition. The Mysore Bani (style) veena tradition thrived under the patronage of the then connoisseur Kings. Vainika Praveena Bhakshi Subbanna was an important and invaluable link in this most chequered tradition of the veena play. He left behind that rich legacy with his countless disciples.
An outstanding veena maestro, pious and ascetic Rudrapatnam Keshavamurthy has carved a special niche in the above lineage. R.K. Shankar, son of Rudrapatnam Keshavamurthy and Shakuntala has launched Guru Keshava Surya Memorial Trust to cherish, nourish and spread the above unique veena tradition.
It was a sight to behold as Keshavamurthy’s sons, grandsons and the disciples of Suryanarayana presented a reverberating veena ensemble concert as part of the launching of the Guru Keshava Surya Memorial Trust at the R.V. Teachers’ College auditorium, Jayanagar. Under the leadership of R.K. Raghavan (who is also a flautist) and the ambitious promoter of the Trust R.K. Shankar, R.K. Padmanabha, R.P. Prashanth, R.P. Promod, R.P. Kiran, Veena Murthy, Gayathri Suryakumar and Nagarathna created a web of enthralling music. R.C. Vijesh lent his voice here and there.
Appropriately accompanied by R.K. Prasannakumar (mridanga, who is also a meritorious Carnatic vocalist), S.V. Giridhar (second mridanga), Subramanya Mohite (khanjari), Betta Venkatesh (ghata), Karthik Vaidhatri (morsing) and Manju (rhythm pad), the ensemble artistically presented “Vatapi Ganapathim”, “Endaro Mahanubhavulu”, “Brochevarevarura” and “Sri Saraswathi” (Arabhi). R.K. Suryanarayana’s “Saraswatha Lokeshwari” (in a rare Kadana or Chandrakauns raga) and Natabhairavi tillana were delightful. The crowning item of the ensemble was a raga and tana in Dharmavathi raga for “Paripaahi maam Girijapathe” with kalpana swaras and laya vinyasa.
The historical, artistic and traditional veena of Veena Subbanna (which is now being used by R.K. Padmanabha) was demonstrated with useful commentary by R.K. Shankar. It is a 200-years-old kanaka-rajata (gold and silver) Akhanda veena (made of single wooden piece). A golden Saraswati is installed near the bridge of the veena and the images of various deities don the borders of the instrument.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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