By Dr. Rama V. Bennur
There are a few good auditoriums in the cultural capital Mysuru but having one more is like adding another feather in its cap. Mysuru rasikas will always welcome them.
Nrityagiri Performing Arts and Research Centre now has its own compact auditorium in Preethi Layout, which is large enough to accommodate around 120 people. Dr. Kripa Phadke, the Director and the brain behind this, wishes to dedicate this auditorium for young and upcoming artistes.
She has introduced a series of programmes called ‘Ekatvam’, the conjoining of art and heart with two concerts, which were held on Oct. 30 and 31, 2021. Dr. C.G. Narasimhan presided over the function where Prof.Ramamurthy Rao and H.N. Panish were the guests of honour.
A musical ensemble of flute, violin, mridanga and morching by Vidwan A.P. Krishnaprasad, M.K. Navaneeth, Keshava Mohan, H.L. Shivashankaraswamy and Vikram Bharadwaj was presented on the first day. Krishnaprasad is a popular and sought after flutist for dance. His young son Navaneeth accompanied him and pleased the rasikas with his little fingers.
Krishnaprasad opened the concert with a rare Varna in Raga Dwijavanthi by Pathmadai Krishna Iyer. ‘Swaminatha,’ a composition by Muthuswamy Dixitar in Naata Raga was followed by ‘Entha Muddo’ by Tyagaraja in Bindumalini. The short alapanas and the brisk Kalpana swaras were apt for the occasion.
After a melodious sketch of saranga and kruthi ‘Neevada neegana’ (Tyagaraja), he began the main raga of the day ‘Kharaharapriya.’
Young Keshava Mohan was calm and confident while the perfect stokes of Shivashankaraswamy enhanced the musical experience. ‘Raama Nee samaanamevaru’ the evergreen composition by Tyagaraja was followed by an interesting Tani avartana by both Shivashankaraswamy and Vikram Bharadwaj.
The second day witnessed a packed audience for a beautiful Bharatanatya duo by young Pooja Sugam and K.M. Sameeksha. The young and promising dancers displayed a perfect coordination and understanding throughout the concert. Thanks to their Guru Vidwan Vijaykumar of Chennai who has successfully passed on his passion, commitment and dedication for dance to his disciples as well. The young dancers were accompanied by their Guru on the Natuvanga, R. Raghuram (vocal), Nagai P. Sriram (mridanga) and A.P. Krishnaprasad (flute).
The traditional Mallaari in the raga Nata and a Shloka in Shanmukhapriya paved way to a wonderfully choreographed item Ardhanareeshwaram. Both Pooja and Sameeksha shared the roles of Shiva and Parvathi with such ease and poise that it held the audience spellbound.
The contribution of all the accompanists took the audience to a different level. The composition by Muthuswamy Dixitar in the Raga Kumudakriya came alive in Raghuram’s singing. Lalgudi G. Jayaraman’s Varna in Charukeshi, the Padam in Madhuvanti and Kapi, showcased the perfect abhinaya and the footwork of both the dancers. The lighting effects too deserve a mention. The performance was for sure a treat to ears and eyes.