In the league of legends
RUPA SRIKANTH
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Padma Subrahmanyam's recent production `Sangamam' is yet another example of her amazing artistry.
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FROZEN MOMENTS: Padma Subrahmanyam.
A reverent hush fell over the auditorium as verses from "Devi Mahatmiyam" created a sense of serene melody. Their conclusion signalled the beginning of an exciting journey across the country through `Sangamam,' one of Padma Subrahmanyam's latest productions. The introduction to `Sangamam' referred to it as a `bouquet of poetic flowers.' How true!
Beginning with "Santhatham Paahima," reflecting Dikshitar's appreciation of the British national anthem, the music was rich with melody and as classical as it was versatile.
Gayatri Kannan's ability to replicate the nuances of regional compositions such as those of Rabindranath Tagore, Iraiamman Thambi, Kamban, Kashmiri Queen Khaba Khatoon, Dharmapuri Subbarayar, Periyazhvar, Tulsidas, Mayuram Viswanatha Sastri and a composition of Padma herself, was remarkable, her sweet voice captivating. Gayatri was supported by vocalists Vaishnavi Anand and Vidya Kalyanaraman.
The orchestration provided by Nellai Balaji (mridangam), C.P. Venkatesan (flute) and T. S. Babu (violin), complemented the singers. B. Kannan on the veena was the most involved of them all, providing percussive support and special effects when necessary, and pure melody at other times.
Though one has watched Padma many times, her artistry never fails to amaze — be it the impact of her storytelling or her ability to dramatise without losing sight of subtlety. The manner in which she captured the picture of Goddess Meenakshi spotting Lord Shiva, in Dikshitar's Poorvikalyani kriti, is what sets apart a legend. The moment was frozen in time and stretched as the heroine's awe turned to love and bashfulness.
In another instance, she juxtaposed two compositions, a Kashmiri song by Khaba Khatoon addressed to Krishna, and a javali "Parulanna Mata" by Dharmapuri Subbarayar, reflecting the same sentiments towards an indifferent lover. Though the heroines in both shared a chastising disposition, the dancer's treatment conveyed subtle differences.
The Ramapriya ragam, Adi talam padavarnam on Lord Venkateswara scripted by Padma and tuned by Kannan was a dramatist's delight.
It was like a treasure chest of mythology with the stories of Lord Vishnu's tryst with Sage Bhrigu, Gajendra moksha, Ramanuja (and the Narayana mantra), the Tirumala temple and so on. Normally so many sancharis would have made any presentation tedious but the kinetics of good music, fast-paced rhythmic interludes and well coordinated narratives kept ennui at bay.
Another enjoyable piece was Periazhwar's lullaby for Rama that went well with Tulsidas' description of the child's beauty in "Tumaka Chalatha." Mahati Kannan, the youngest member of the troupe, displayed an admirable sense of timing.
The other dancers, Gayatri, Vineeth and Swathi, supported Padma with dignified performances.
There was a sizeable audience that evening. Its appreciation could be gauged from the deafening applause Padma received.
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