Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Strong in nritta and bhava
LALITHASAI
|
Petite Sweta Ravishankar scored both in abhinaya and footwork.
|
Photo: N. Sridharan
Neat: Sweta Ravishankar
The recital by Sweta Ravishankar at the R.K.Swamy auditorium, Mylapore, was well-designed and presented neatly. It was supported by excellent vocal and nattuvangam by her Guru Padmini Radhakrishnan, founder-director, Soundarya Natya Kalalaya, Mumbai
. The gentle mridangam which enhanced the dance was by her father S. Ravishankar. Sikkil Balasubramanian bowed melodiously all through the recital.
As the curtains went up, charming, young Sweta began with a quick pushpanjali, which led to a padam, ‘Karpaga Vinayagane’ in Hamsadhwani, (chatusra ekam). The centre piece of the programme was the varnam ‘Swami Naan Undan Adimai’ in Nattakurinji.
It was a narrative about the nayaki waiting for Lord Siva. The sancharis for the lines ‘Thamatham Seyyadhu Vandharul Madhor Boodesa’ had all the details about Lord Nataraja. She also conveyed to the birds, animals and all the creatures around her about her love-lorn condition.
As she moved on to the line ‘Nadanam Aadidum Sevadi Darisanam Enrum’ where the nayaki wishes to have a view of the celestial dance of the Lord, the dancer’s abhinaya prowess was obvious as she depicted the various aspects of music and the instruments. The footwork in the varnam had good geometrical clarity and her petite figure allowed her to span the stage with ease but they looked hurried taking away the charm of the well-rendered teermanams.
Purely interpretative
The padam, ‘Netru Inda Nerathilae,’ a composition of Vaithiswaran Koil Subbaraya Iyer in Huseni was a fine and purely interpretative piece. It portrayed the pangs of the nayaki for Lord Muruga. The song was sung by her guru and vocalist Padmini Radhakrishnan at a slow pace with feeling. What added magic to the rendition was the portrayal of the intimate moments between her and Lord Muruga. Her slim figure enabled her to twist and turn with ease bringing out the essence of Sringara.
Delightful was Sweta’s touching rendering of ‘Bhavayami Gopala Balam’ in Yaman Kalyan and Kanta chapu talam. In the Kalinganardanam episode agile body moments as a snake added depth to the scene.
It was also interspersed with light-hearted Krishna-gopika scenes. Another interesting aspect was when she casually revealed the ten avatarams in the line ‘Thiruvenkata Chalasthitham Anupam Harim Paramapurusha Gopala Balam.’ Though there were sculpted postures, a little bit of devotion would have added flavour to the whole piece.
Striking a contrast to the bhava of bhakti in the previous piece, was the rhythmic number of ‘Valli Kanavan Pearai’ in Kavadichindu. Shweta wrapped up the recital with a Bharatiar song, ‘Thaka Thaka thaka’ in raga Sivashakthi.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
