37th year Art festival 2011
Sulakshana Jayaram gave a Bharathantyam recital this evening. She is training in the traditional Pandanallur bani of the art.
Starting her oresentation with a Shivasthuthi - 'Bo Shambho' in Revathi ragam, she went on with the varnam of the Thanjavur quartet - 'Samininne'. in ragamalika. Then she performed for a Kavadicchindu and finally for the Dhanasree thillana - 'Geeth guniku'.
Clad in pleasantly coloured costumes, her performance was high on aesthetic appeal, and was appreciated by the audience.
The next event, in a delicious mix of folk, therukkoothu, and Bharathanatyam, 'Mammudha', the story of Manmatha rising from dust to life unfolds. Western tunes and dance movements too come as a break. This is a presentation from the Sudharani Raghupathi's Shree Bharathalaya, produced and choreographed by this great Bharathanatyam exponent. Her son, KSR Anirudha conceptualised the theme, and has directed it. Music is in the recorded form.
Though it has been staged several times in the past, the story underlining this theatrical dance and the presentation regaled the audience. Looked like, rasikas who have already had a taste of Mammudha earlier, and those who regretted missing it in the past, outnumbered the new guests. Such is the power of this production.
Scenes come and go at a racy speed in liberal sprinklings of colour, carrying us along. You forget yourself for a couple of hours; it is so absorbing as the drama progresses. The kattiyakkaran is the cynosure of all eyes! All pervasive, appearing in every nook and corner, and every time with a different expression on his face, the character hooks us. Interesting!
The theme interests many, who have very little knowledge of Manmatha and his character.
Neyveli Santhanagopalan is adored by the Carnatic rasikas and many great vidwans in the field, for his eloquent raga alapanai, kalpanaswarams and more. No wonder, the obsessive rasikas had gathered in large numbers, so late at 8 pm, for this last in the line up of concert for Kartik Fine Arts, this evening.
Though the concert was of a short duration, the impact it created was large. A typical example for, how short concerts can be made impressive.
Commencing the recital with the free flowing Saveri varnam, it progressed to a crisp 'Entavedu kondu' of Thiagaraja in Saraswathi Manohari ragam.
By a momentary flash of Manohari ragam (as said by Santhanagopalan) in his mind, he sang the krithi 'Paritapamu' of Thiagaraja. The raga and the krithi shone at the hands of the singer. This krithi was said to be among the last few krithis composed by Thiagaraja, and means to express his desperate longings and attempts to see Lord Rama.
A delightful Purvikalyani raga alapani set the stage for the main item of the concert. Gopalakrishna Bharathi's rarely sung composition 'Nadamaadum Nathanadi' was a awesome rendition. Neraval and swarams made the beautiful lyrics 'Balakrishnan paada, Brahman thalam poda, Nandi mathalam muzhanga, Naradar Yazhisaikka' a absolutely joyful experience, thanks to the Neyveli style. This krithi is set to Khanta chapu thalam.
A heavenly 'Annapoorne Visalakshi' in Sama ragam elevated the rasikas mood, and were left asking for more.
With a virutham in Suratti, Sindhu Bhairavi ragams, the Thiruppugazh 'Naadithedi thozhuvar' followed in SindhuBhairavi. Fiinally, with Karpagame in Madhyamavathi, the concert came to a close, but made permanent imprints in the rasikas' hearts.
Delhi Sundararajan on the Violin, Neyveli Venkatesh on the Mridangam and Govindarajan on the Ghatam gave a weighty and coordinated support the vocalist Neyveli santhanagopalan.