If vocal music lures the ears, then instrumental music endears itself to the listener for various reasons. In the classical dance arena, instrumental music has gained popularity because of its versatility, the unending varieties of laya, adaptations of new instruments and more. The musical instruments which tended to be placed in second or lesser positions of an ensemble, now have started occupying the number one position. The role of instrumental music in dance performances cannot be undermined either.
Flute and Feet Academy led by young flautist Vivek Krishna and his dancer-wife Aranya successfully explored the possibility of presenting Bharatanatya to the exclusive accompaniment of instrumental music at the ADA Rangamandira last Sunday. The music side was manned by Vivek Krishna (flute), Mysore Dayakar (violin) and B.S. Prashanth (mridanga) and the music ensemble for dance comprised of D.V. Prasannakumar (nattuvanga) and Harsha Samaga (mridanga). Aranya Narain, Radhika Ramanujam, Sneha Devanandan and Aparna Sastry excelled with their admirable talent and artistry.
The flute has been a very popular accompanying instrument because of its versatility. Choreographers and composers like that it can play both melodically and harmonically. Its consistency of sound provides ample opportunities for dancing. The programme was good in terms of music variety and danceable songs. The musicians and dancers pleasantly surprised the rasikas by the variety of music offered. The dancers seemed to enjoy every bit of it and passed on their enjoyment on to the rasikas.
The vocal-based flute play by Vivek definitely enchanted the dancers to give their best.
The experimental recital began with an interesting rendition of Bhairavi ata tala varna. The dancers converted into a rich form of nritta, nrithya and abhinaya piece. Lord Ganesha was neatly saluted on the basis of Mahaganapathim (Nata) by Aparna Sastry. A popular Ranjanimala krithi on Goddess Lakshmi, Saraswathi and Parvathi Ranjani mridupankaja set in a chain of ragas like Ranjani, Sriranjani, Megharanjani, Janaranjani was given profound airing by Radhika Ramanujam. Srivalli Devasenapathe in Nathabhairavi raga has the theme of Lord Murugha and His consorts Srivalli and Devasena. This was rendered by Aranya Narain with scholarly nritta.
Sneha Devanandana was a picture of grace and vivacity in unfolding the Bilahari krithi Sri Chamundeshwari. The tagging of the shloka Ayagirinandini and the translation of its chittaiswaras into a demanding nritta was noteworthy. Aranya was at the peak of her abhinaya expertise while delineating the famous Abheri krithi Nagumomu. The percussionists were given a chance to carry out laya vinyasa and Aranya did extremely well in meeting the challenges posed by them.
Scholarly renditions
Though the voice of Taranathan seemed to cause some trouble here and there, the most dependable erudite vocalist-brothers Taranathan and Thyagarajan of Rudrapatnam Brothers fame impressed the rasikas at Sri Vani Vidya Kendra, Basaveshwaranagar with their scholarly
renditions during Sri Ramanavami music festival. Their ingrained refinement and quiet approach to bhava and tala exerted its pull. The conversational flow and ease of interpretations produced genuine enjoyment.
As usual they had a praiseworthy list of compositions. Accompanied usefully by Nalina Mohan (violin), J. Vaidyanathan (mridanga) and Sukanya Ramgopal (ghata), the brothers began their recital with the Bhairavi ata tala varna (Veeriboni).
The blessings of Lord Ganesha were invoked by singing Gajamukhane Siddhidayakane. Thyagaraja’s Emani pogadudura was sung with beautifully shared swaraprastara but without neraval. The audience feasted upon an elaborate Poorvi Kalyani alapana by Thyagarajan. The raga bhava was underscored at every stage and got spread out in tristhayis. Rarely heard Thyagaraja krithi Paripoorna kama impressed.
Neraval shared by both the brothers at Sakethaadhipa was crowned by a rhythmically taut swaravinyasa. The audience was treated with a complex raga Manirangu. Taranathan in his raga vistara brought out the salient features of the raga in a well planned design. Another mighty krithi Maamava Pattabhirama in a charming vilamba kala was a sheer delight. The pallavi line was ornamented by kalpanaswaras. Marakatha manimaya in Arabhi delighted the audience.
Melodious rendering
Young Deepthi Srinath, daughter of singer P. Ramaa captivated the audience at Vijaya College with her melodious singing of Hindi and Kannada devotional songs. She sang a good number of compositions by Meerabai, Kabir, Surdas, Tulasidas, Purandaradasa, Kanakadasa and other saint composers. Her rich voice, diction and delivery were endearing. She packed those compositions with bhava laden phrases and won applause.
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