Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
A happy outcome
|
The music and dance performances were a good blend of art and aesthetics
|
ACCOMPLISHED While Jayanti displayed admirable control, Vasundhara Doraswamy showed flexibility and gentleness
Vasundhara Doraswamy
presented Bharathanatya
feature, "Vasudeva
Vaibhava", organised
by Nadabrahma Sangeetha
Sabha in tribute to the musical
visionary, Mysore Vasudevacharya.
Besides a good control
over the art form, balance,
timing, relevance and aesthetic
values played vital
roles in enlivening the compositions
of the Acharya. In
her style, one could identify
the required classical and
traditional elements, executed
with remarkable ease
and implemented with appealing
taste.
Take for example, Melaprapti
followed by Vasudevacharya's
"Pranamamyaham Shri
Gowrisutham" (Gowla),
wherein she established
herself as an adept in Pandanallur
style; flexibility, gentleness
and extempore
spoke of her distinguished
forte.
Stage activities desirably
vigorous in the introductory
phase calmed down as she
commenced the krithi proper.
Such a transformation
automatically facilitated a
visual expatiation of the lyrics
(sanchari bhaava) at
"Shri Gowrisutham", bringing
it within the comprehensibility
of even a common observer.
Padavarna ("Palumaru" -
Kedaragowla - Vasudevacharya)
endorsed both proportion
and imagination.
The mature artiste's expressive
netrabhinaya (charana
section, "Thamasamelara"),
exemplified the guideline -
"Chakshurbhyam Darshayeth
Bhaavam" (Abhinaya
Darpana).
Shrivatsa's singing inspiringly
coping up with the
danseuse' extempore, fulfilled
the needs of pleasing
music. Nattuvanar Sandesh
Bhargav's firm grip over
sholkattus added lustre and
vitality. H.S. Thandavamurthi
(violin), Jayaram (flute)
and Sushil (mridanga) contributed
significantly for the
commendable outcome of
the show.
Other highlights were
"Shri Chamundeswari" (Bilahari),
"Gokula Nilaya"
(Abheri), "Kailasapathe"
(Kalyani - all of Vasudevacharya)
and a tribute - tillana
(Desh - Shrivatsa).<.p>
****
The next day, Jayanti Kumaresh,
presented veena concert marking the above
commemoration. K.U. Jayachandra
Rao (mridanga)
and S. Manjunath (ghata)
accompanied her.
She exercised admirable
control over her finely
tuned, richly resonating instrument.
Her general approach
being refined, there
was no dearth of melodic
movements - a pleasant performance,
though not necessarily
evocative.
Eliciting opulence of
smooth and deep gamakas,
she opened the concert with
the Varna ("Vanajakshiro" -
Ramnad Shrinivasa Iyengar).
Yet, in the present instance,
some areas appeared
feeble.
Pronounced gentleness
was not fully compatible
with the nature of the construction
of a varna, which
needed relatively a vigorous
treatment.
Alapana in Dharmavathi
("Bhajanaseyarada" - Vasudevacharya)
convincingly exposed the personality of
the raga. In the kalpanaswaras
sections, somehow she
did not come out with significant
imaginative ideas to
the best of her competence.
She invariably maintained
melodic continuity
between the swaras (observe
her dexterous movements
on the frets and the
special techniques of plucking)
which, if complemented
with sufficient
meditative involvement,
would have transformed
those melodic movements
into emotive moments.
A decent expatiation of
Natakuranji, followed by
stately taanas led to pallavi,
"Shri Hari Murahari". Swarakalpana
in ragamalika was
absorbing. The percussionists
took necessary care to
mellow the impacts of the
beats to suit both the lead
artiste's artistry and unique
tonal qualities of veena.
"Bhajare Re Manasa"
(Abheri), "Paripahimam"
(Kannada - both of Vasudevacharya),
"Idi Samayamura"
(Chayanaata -
Thyagaraja) and tillana
(Shivaranjani) were other
inclusions.
V. NAGARAJ
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
