Metro Plus
Bangalore
Chennai
Coimbatore
Delhi
Hyderabad
Kochi
Madurai
Thiruvananthapuram
Visakhapatnam
Metro Cultural round-up
Tyagaraja aradhana in progress.
The five day fete commemorating the 157th death anniversary of the Saint-composer Tyagarajaswamy organised by the Tyagaraja Aaradhana Trust was inaugurated at Kalabharathi on Sunday last. The Governor of Orissa, M.M. Rajendran, his wife Suseela and the M.P., T. Subbarami Reddy were guests of honour at the fucntion.
The presence not only of the security personnel of both the dignitaries including the ADC of the Govenor besides his personal attendendant on the dais but also the posse of police outside along with the security check imposed on the visitors created a piquant ambience which otherwise was supposed to be absorbingly devout. Added to this, the portrait of any kind of the Vaggeyakara was conspicuous by its absence leave alone being customarily garlanded in accordance to set traditions before the lighting of the jyothi at such specific functions. Rajendran and the other dignitaries including C.S.N.Raju, the founder president of the trust lit the jyothi to mark the inauguration of the ustav. Surprisingly, the prayer song even was not a composition of Tyagaraja. Paradoxically enough, the vocal maestro and the recipient of the prestigious Madras Music Academy title `Sangeetha Kala Nidhi', Nedunuri Krishnamurthy who was assigned the job of offering a bouquet to the Governor did not find a place on the dais.
The inaugural speech by Rajendran, that was replete with all praise for our culture, the classical arts, the ever effulgent traditions set in the exposition of carnatic music by Tyagaraja, Dikshitar, Syama Sastri and so on was highly inspiring and gratifyingly over-shadowed all such lapses. Speaking about the general feeling that the classical idiom in its purely traditional form lacks popular appeal and hence should be modified, Rajendran firmly said that as we do not try and propose to dilute the quality attributes of the works of the likes of Shakspere, Milton and so on, we should not encourage even such thinking. Subbarami Reddy expressing similar sentiments appreciated C.S.N. Raju for his dedicated work promoting our traditions, especially the classical music and dance.
Later, a Nritya Roopakam `Tyagaraja Tatwa Darsanam' was presented by the students of the Kuchipudi Kalakshetram, an off-shoot of the Kuchipudi Art Academy founded by Vempati at Chennai. Choreographed and directed by Hari Rama Murthy, principal of the Kalakshetra, it seemed to be a misnomar as none of the compositions that went constituting the ballet stand reflecting either the Vaggeyakara's philosophy or his way of life. Starting with Sriganapathini (Sourashtram) followed by Namonamo Raghavaya (supposed to be the first composition of Tyagaraja - Desikatodi), the selection comprised Sambhomahadeva (Pantuvarali), Venuganalolunigana (Kedaragoula), Kanugontini (Bilhari) and Jagadanandakaraka (Nata Pancharatna kriti) with which the roopakam concluded (again not in conformity with the established custom of starting with Nata and concluding with Surati), all in praise of the Lord. Over all it left an impression of being just an effort visualising in dance with the least concern for the emotional content in the lyrics and the niceties in music in the compositions. Except in the first item, the synchrony in movements between the individuals in the groups left much to be desired. Lakshmi Prasanna was a misfit for the roles of Krishna, Rama and Mahavishnu. In the dance for Sambhomahadeva, Devi Girija was conspicuous by her absence but surprisingly the Pramadhaganas in the Kailasam included Apsaras.
Vocal by Sai Savitri was euphonic alright but lacked any expression. Nattuvangam by the director himself was superb. N. Phanikumar on mridangam, K. Vijayasri on violin, T. Atchutha Rao on flute, P. Ramachandra Prasad on veena and M. Srinivas on harp lent good support. Make-up by Surya Rao and K. Sudha was good but all the Gods and even Tyagaraja were shown without the yagnopaveetham. The prelude and the commentary in between scripted and read out sans any dramatic modulation by Dr. Perala Balamurali Krishna consumed as much time as that of all dances put together. It only served contributing to the monotony over all that lasted nearly two hours. Besides V.V.S. Jagannadh who depicted Ganesha and Tyagaraja (both in the naatya and loka dharmi traditions), Y. Hanumantha Rao as Siva in the lokadharmi mode, sprightly looking A. Sumathi, B. Himabindu, B. Bhagya Latha, N. Kiranmayi, K. Aparna Swathi, V. Sobhadevi, M. Bharathi, N. Viswashanti, K. Kanakamahalakshmi, V. Lakshi Pavitra, P. Shilpa, C. Niwelika and A. Kavya along with Ravi and Ramana constituted the groups.
The next day morning coinciding with Pushya Bahula Panchami, the day on which the Saint singer attained liberation, special puja along with abhishekam and arathi were performed to the idol in the Tyagaraja temple situated in the premises of Kalabharati. The idol of Tyagaraja along with the Ramapanchayatana was taken round Kalabharathi led by Mangala Vaidyam. The Mangalavaidyam by Gurivilli Appanna and his brother Durga rao marked all the rituals. Then followed the Pancharatnakriti seva on the dais inside Kalabharati. Mrs. Susila, wife of the Orissa Governor, M.M. Rajendran lit the jyothi. About 150 artistes of all categories including the senior most and the veterans like Vankayala Narasimham, I.V.L. Sastry, Komanduri Krishnamachari, Arundhathi Sarkar, S. Vasundhara Devi, Jalajaakshi among others led by Sangeetha Kalanidhi Nedunuri Krishnamurthy participated in the seva creating a serene atmosphere replete with a devout fervour.
From then onwards, there were as many as 224 short duration recitals (178 of 10 mnts., 10 of 15 mnts. and 36 of 30 mnts. each - totalling 64 on the 12th, 58 on the 13th, 57 on the 14th and 45 on the last day, the 15th). The attendance on all the days from morning till about 6 in the evening was hardly 50 in the auditorium. The period from 6 to 8 in the evenings however witnessed the maximum gathering, about 7 to 800.
The rendering of the vaggeyakara's composition, Geethardhamu by about half a dozen artistes led by Arundhathi Sarkar and the Mantrapushpam in chorus by almost all present in the auditorium (hardly 60) marked a serene finale for the fete.
Hardly about 40 artistes only in the slot of 10 mnts., each proved to be good while most of the rest appeared to be novices. The 46-odd recitals in the 15 mnts. and 30 mnts. slots, were very evocative and absorbing. The recital by Sangeetha Kalanidhi Nedunuri was specially attractive. He rendered two lyrics which were supposed to be of Tyagaraja and set to vibrant music by himself. Veturi Ananda Murthy, Akella Mallikarjuna Sarma and the likes, it seems secured some such compositions carrying the Tyagaraja Mudra which hither-to did not find mention in any of the published sources from the Sourashtra Grandhaalayam and entrusted the job of composing music and popularising them to the vocal maestro. The secretary of the trust, IVL Sastry proposed a vote of thanks.
A. RAMANLINGA SASTRY
Printer friendly
page
Send this article to Friends by
E-Mail
Metro Plus
Bangalore
Chennai
Coimbatore
Delhi
Hyderabad
Kochi
Madurai
Thiruvananthapuram
Visakhapatnam
|
