When classical dance ruled the stage

BANGALORE: The sweet notes poured out from the voice of a seasoned singer Dr Sukanya Prabhakar at her vocal recital for Sri Seshadripuram Ramaseva Samithi’s 64th Sri Ramanavami music festival.

Published: 27th April 2012 11:34 PM  |   Last Updated: 16th May 2012 10:32 PM   |  A+A-

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BANGALORE: The sweet notes poured out from the voice of a seasoned singer Dr Sukanya Prabhakar at her vocal recital for Sri Seshadripuram Ramaseva Samithi’s 64th Sri Ramanavami music festival.  Her introductions to the krithis that she sang were useful. Her opening refrain in Gambheera Nata (song Vanajaksha composed by Mysore Sadashivarao) was slow and chaste.

A unique Ekaanda krithi by Veena Padmanabhaiah ‘Deena dayakara’ set to Mayalayamarutha raga was essayed brilliantly. Singing that krithi in pallavi-anupallavi and again pallavi-anupallavi pattern, she stirred the emotions by singing the lines ‘Sarasija pada saanidhyam dehime’ and ‘nee paadame nammithi saraguna’ beautifully.

The swaraksharas for ‘nee paadame’ were enthralling.  ‘Sri Ranganathapaahimam’(Kalyanavasantha) with Sriranga pancharathna stotra prelude, ‘Mamava pattabhi’(Manirangu) were excellent.

A composition by one of the noted female Haridasas Kolara Padmabai’s ‘Veene pidude’(Hameerkalyani) was delightful.

B Raghuram (violin), C Cheluvaraju (mridanga) and B N Chandramowli(khanjari)’s accompaniments were a treat.

Dancing to Antahapura Geethegalu:

A two day illuminating seminar on veteran Kannad poet Dr D V Gundappa, popularly known as DVG was held at Padmini Rao Parampara Arts and Cultural Resource Development Centre last week. DVG’s krithis are classic and they glow with spiritual, social and cultural values.

Noted scholar Dr Shatavadhani Ganesh threw light on the importance of the series of krithis of DVG from the point of

view of dance.

On the second day (Sunday) another scholar Prof Kabbinale Vasantha Bharadwaj spoke and sang to highlight the unfathomable treasure and material for classical dance available in DVG’s ‘Antahapura Geethegalu’.

Of course, this aspect was explored to a greater extent through music and dance performances on both days of the seminar.

A popular dancer-scholar Jaya led her students of Jain University to present an enjoyable dance feature ‘Antahapura Geethegalu’. It opened with a Pushpanjali, Ganesha vandana and a few shlokas drawn from shaashana sahitya. Very judiciously selected Antahapura Geethegalu like ‘Dhanya moordhanya’(Saranga), Sri Chennakeshava(Bagesri),Nrithyadarabhasa(ragamalika), Enee mahanandave (Hindola) and others were artistically  explored by them.

The live music support was enriching. Various sculpturesque freezes filled the eyes.

On day two, singer Vasudha Balakrishna sang seven compositions picked up from DVG’s Kagga and Antahapura Geethegalu to the accompaniment of Mahesh (flute) and Jayachandra (tabla). Aadi chittane, Sharanu(Arabhi), Jeevajada roopa(Nata), Sri Chennakeshava(Arabhi) and others were impressive.

She excelled in singing Mohana, Anandabhairavi, Shankarabharana, Shahana, Kuranji(in madhyamashruthi), Kedara, Kapi, ragamalika.

Ponnaiah Lalithakala Academy’s students led by Shwetha Lakshman and Vishakha regaled the rasikas with their rendition of alarippu, Ninnane paduve (Hamsadhwani), Natya nipune(Hindola), Ene Shukhabhashini(Behag), Natanavadihal(Koravanji, Maand raga) and Jayav ishwamohana (Mohana).

The group presentation was marked by good understanding and coordination among the dancers. The compatible music support was lent by Shreyas (nattuvanga), Vasudha  (vocal), Mahesh (mridanga) and Purushottam (mridanga).  

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