Offline events at Ganabharathi restart to the delight of rasikas

Offline events at Ganabharathi restart to the delight of rasikas

March 7, 2022

Vocal concert by Vid. Pattabhirama Pandit and dance version of Kalidasa’s ‘Meghadoota’ by Raasavrinda enthral audience

By Rasikapriya

Ganabharathi of Mysuru has never lagged behind in spreading the fragrance of classical music and dance to connoisseurs. The quality of the programmes it caters speak loudly of its commitment to art.

In fact, it was Ganabharathi which volunteered first to the rescue of artistes, who were badly in need of financial help, during the pandemic. It also held their morale high by arranging online concerts. Slowly, offline concerts are starting for the pleasure of both artistes and rasikas.

Recently there were two programmes held at Veene Seshanna Bhavana which were highly satisfying and pleasing.

A classical vocal in memory of D.V. Narasimha Rao and Smt. D. Tripurasundari was by Vidwan Pattabhirama Pandit (Feb. 18) and a dance version of Kalidasa’s ‘Meghadoota’ (Feb. 26) by Raasavrinda. Both the programmes were excellent and remarkably good.

Vidwan Pattabhirama Pandit is a reputed artiste, well-groomed by eminent vocalists. His rich voice, pure classicism and emotionally charged rendering are part of his committed singing.

He was accompanied by Mathur Srinidhi on violin, H.S. Sudheendra on mridanga and G.S. Ramanujam on ghata.

The opening Kaanada Varna ‘Neranammiti’ in a moderate speed led to a crisp Kalpana swaras which kept the listeners alert.

Tyagaraja’s ‘Tulasidala’ in the raga Mayamalavagowla was a neat presentation. A neraval at ‘Saraseeruha punnaga champaka paatala’ literally spread the fragrance of flowers through his fertile manodharma. The Kalpana swaras perfectly matched the composition.

Pattabhirama Pandit plunges instantly into the depth of the composition to bring out its true spirit. As a result, every phrase he sings are emotionally charged. ‘Eccharikaga raara’ (Yadukulakambodhi) and ‘Sukhi evvaro’(kaanada) — Tyagaraja’s gems exemplified this.

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Kaanada was the main raga of the day. Pathos reined throughout the alapana. Rasikas were carried away to a different world by both Pandit and Mathur Srinidhi’s effluent imagination. Srinidhi was equally good and supportive. The rhythmic support by H.S. Sudheendra and G.S. Ramanujam enhanced the musical experience.

‘Raasavrinda’ of Mysuru is known for their traditional, pure classical dance performances. Vidushi Nandini Eswer and Dr. Rohitha Eswer are the spirit behind all their productions.

Dr. Rohitha Eswer and Chinmayee Bharadwaj presenting dance version of Kalidasa’s ‘Meghadoota’ at Ganabharathi on Feb. 26.

Their yet another experiment ‘Meghadoota’ of Kalidasa was a grand success on the stage of Veene Seshanna Bhavana.

It was in memory of Smt. Saraswatamma Ramashastry. Without adhering to any particular style, they had woven this poetry into beautiful dance media.

Condensing a poetry of 4th or 5th century from 115 to 12 verses is certainly not an easy task. Kalidasa, through this beautiful work, has captured the picturesque landscape from Central India till Alakapuri on the Kailash mountains.

The Yaksha, an assistant of Kubera is in exile for his negligence in work. Away from his beloved wife, Yaksha is in sorrow when he sees an elephant-like cloud in the sky.

He convinces the cloud to carry his message to his beloved wife at Alakapuri on Mount Kailash, who is eagerly waiting for him to return. He describes the beautiful sights he will see on the way to Alakapuri.

Dr. Rohitha Eswer, with just one more dancer, was totally successful in describing the nature’s beauty along the megha’s journey.

He, as Yaksha, did justice to the role. Chinmayee Bharadwaj was giving a visual description of his thoughts. The trees, flowers, fruits and rivers were unveiled with graceful movements.

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They both took the audience along with the cloud. Dance concept and direction was by Dr. Rohitha Eswer and the narration by Vid. Shantala Vattam deserves a mention. The rich music (Pt.Vishwamohana Bhat) captured the audience allthrough.


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