Remarkable fluidity
Sri Rama Lalitha Kala Mandira conducted the annual Sankranthi music festival in which many duets - both male and female - were held for eight days. Lakshmi Rangarajan and Subhiksha Rangarajan, are rare mother and daughter duet and they hail from the T.M.T. (T M Tyagarajan) School. They have sung in both in and outside the country, with many prizes to their credit.
The initial compositions in their current concert of Lakshmi and Subhiksha held out hopes of a delectable programme. With their good voice lent flavour to the 'Chitham Irangada'. It was a pleasure to listeners to listen to that divine composition 'Jambupathe'. 'Bhogindra Shayinam' - is a ever popular composition.
They elaborated 'Etijanma', bringing out all the nuances of the evocative raga Varali. They crowned the concert with a Pallavi ('Hare Rama Govinda Murare') in the stately raga Kambodhi.
In total the concert was notable for the remarkable fluidity and melodic content, which soared with ease, throughout the concert. Young H M Smitha gave splendid support on the violin, while seasoned percussionists - A Renuka Prasad and M Gururaj accompanied with good understanding.
Rich tributes to Guru
Prof U S Krishna Rao (31.12.1912-2005) served the dance field as a performer, teacher, choreographer and author. His birth centenary was celebrated in collaboration with 'Mahamaya,' Karnataka Nritya Kala Parishat and Karnataka Sangeetha Nritya Academy, for three days. His students paid tributes through performance and lectures and there was a photographic exhibition also and few senior artistes were felicitated on the occasion.
Padmavibhushan Dr Sonal Man Singh, senior student of U S Krishna Rao, gave the inaugural dance of the 'Mahamaya,' festival. The Lady (Mary) comes to the door steps of Lord and instead of opening the doors, Lords says 'Paschatap' is 'Prayashchit'! The original Malayalee script is well translated into Hindi. But the interpretation as too simple.
Instead, a composition taught by her Guru (U S K) would have suited the occasion better, as the festival was more like a tribute. Even the 'Aharya' was different. Instead of the customary Odissi saree and hair style, she danced with a red saree, which was not in the Odissi style. But the melodious vocal (recorded) background made good impact on the audience.
Young Harish Raman, son of K M Raman (Sri Rajarajeswari Nritya Kala Mandira) chose a varna for his Bharathanatya recital. In the Thodi varna, Krishna Rao has substituted the lyrics 'yeranapai' with 'Seetha Rama,' the story of Sri Rama. He performed with ease and confidence and portrayal of Lord Rama was neat.
Upcoming artiste Prateeksha Kashi, who has proved her mettle many a times, opened her Kuchupudi recital with 'Devathe Ranga Devathe,' pleasantly. It was followed by a Taranga 'Pahi Pahi Sri Krishna'. Standing on the brass plate, she performed with practiced ease which was pleasing too. Finally, there was a Kathak recital by the members of the Nadam.
Nandini K Mehta and K Murali Mohan started with a Nataraja vandana, impressively. Four students of Nadam performed 'Basant' with gay abandon and concluded with the familiar 'Rushile Radha', which was proof of the talent and experience of Nandini and Murali Mohan.
Sri Rama Lalitha Kala Mandira conducted the annual Sankranthi music festival in which many duets - both male and female - were held for eight days. Lakshmi Rangarajan and Subhiksha Rangarajan, are rare mother and daughter duet and they hail from the T.M.T. (T M Tyagarajan) School. They have sung in both in and outside the country, with many prizes to their credit.
The initial compositions in their current concert of Lakshmi and Subhiksha held out hopes of a delectable programme. With their good voice lent flavour to the 'Chitham Irangada'. It was a pleasure to listeners to listen to that divine composition 'Jambupathe'. 'Bhogindra Shayinam' - is a ever popular composition.
They elaborated 'Etijanma', bringing out all the nuances of the evocative raga Varali. They crowned the concert with a Pallavi ('Hare Rama Govinda Murare') in the stately raga Kambodhi.
In total the concert was notable for the remarkable fluidity and melodic content, which soared with ease, throughout the concert. Young H M Smitha gave splendid support on the violin, while seasoned percussionists - A Renuka Prasad and M Gururaj accompanied with good understanding.
Rich tributes to Guru
Prof U S Krishna Rao (31.12.1912-2005) served the dance field as a performer, teacher, choreographer and author. His birth centenary was celebrated in collaboration with 'Mahamaya,' Karnataka Nritya Kala Parishat and Karnataka Sangeetha Nritya Academy, for three days. His students paid tributes through performance and lectures and there was a photographic exhibition also and few senior artistes were felicitated on the occasion.
Padmavibhushan Dr Sonal Man Singh, senior student of U S Krishna Rao, gave the inaugural dance of the 'Mahamaya,' festival. The Lady (Mary) comes to the door steps of Lord and instead of opening the doors, Lords says 'Paschatap' is 'Prayashchit'! The original Malayalee script is well translated into Hindi. But the interpretation as too simple.
Instead, a composition taught by her Guru (U S K) would have suited the occasion better, as the festival was more like a tribute. Even the 'Aharya' was different. Instead of the customary Odissi saree and hair style, she danced with a red saree, which was not in the Odissi style. But the melodious vocal (recorded) background made good impact on the audience.
Young Harish Raman, son of K M Raman (Sri Rajarajeswari Nritya Kala Mandira) chose a varna for his Bharathanatya recital. In the Thodi varna, Krishna Rao has substituted the lyrics 'yeranapai' with 'Seetha Rama,' the story of Sri Rama. He performed with ease and confidence and portrayal of Lord Rama was neat.
Upcoming artiste Prateeksha Kashi, who has proved her mettle many a times, opened her Kuchupudi recital with 'Devathe Ranga Devathe,' pleasantly. It was followed by a Taranga 'Pahi Pahi Sri Krishna'. Standing on the brass plate, she performed with practiced ease which was pleasing too. Finally, there was a Kathak recital by the members of the Nadam.
Nandini K Mehta and K Murali Mohan started with a Nataraja vandana, impressively. Four students of Nadam performed 'Basant' with gay abandon and concluded with the familiar 'Rushile Radha', which was proof of the talent and experience of Nandini and Murali Mohan.