Infused with spirit and vigour
UNDER THE auspices of Bharatiya Vidya Bhavan and Kalapradarsini, Urmila Satyanarayanan gave a solo Bharatanatyam recital to a packed audience. Urmila is a brilliant dancer who knows to present in apt proportions, the aspects of nritta and abhinaya. Her neat footwork, posture, graceful poses, and supple nritta exercises always impress upon the serious rasika.
On this occasion, Urmila began with an invocatory (composed by Swamimalai K. Suresh) number and proceeded to the rendering of the Kriti of Saint Tyagaraja, "Tera Teeyagaradaa" in Gowlipantu.
The choice of this composition did not create the right impact at the start of the recital.
The kriti refers to the symbolic removal of the veil of ignorance , which hides the path of the immaculate light or Gnana. Such a mood can best be achieved in a recital, only after going through the gradual development of emotions encountered through the traditional repertoire in its order.
The varnam of the evening was "Angayarkanni" by Lalgudi G. Jayaraman, centering around the glories of Devi, as Meenakshi and as Tripura Sundari. A vibrant portrayal of the various facets of Mother Supreme was well-visualised by Urmila. Her execution of the rhythmical structures, were infused with the essential spirit and vigour.
Swamimalai Suresh (nattuvangam and vocal) and Nellai D. Kannan (mridangam) were at their best, enriching the entire performance. Sikhamani (violin) and Shashikumar (flute) added further to the enchanting orchestral group.
A viruttam, followed by a Tamil composition, addressed to Lord Muruga ("Enna Solli"), and the lilting javali, "Sarasamulaade" in Kapi were interestingly portrayed in the latter half of the programme.
However, in the javali, Urmila could have employed more imaginative interpretations to enact the advances (the pallavi) made by the lover to the heroine, instead of indicating the idea in a vague and repetitive manner. The shy, embarrassed naayika was, however, well-portrayed.
Urmila concluded the recital with a well-structured, gripping tillana in Behag (Papanasam Sri Sivan). Her choreography of the five rhythmical segments adhered to the traditional prescription. She performed the items with precision, adding a joyful touch to the conclusion of this lively recital.
Skilled and pleasing
Mathura Viswanathan who performed for Bharatiya Vidya Bhavan and Kalapradarsini festival, is a disciple of A. Lakshman, well-known senior dancer and teacher. Mathura has a pleasing stage presence, and noteworthy skill. She was confident and revealed good control over the technical aspects. Her execution of the different rhythmical structures were precise. However, she has to work on the abhinaya aspect with deeper involvement.
She sported a flashing smile throughout which prevented the upkeep of the sthayi, especially in the Varnam. A tranquil face in between, will help proper linking of the different moods, and avoid the sudden shift of facial expressions appearing incoherently. Mathura is bound to reach heights, if she attends to the finer details pertaining to this area of interpretation.
Mathura commenced with a brisk Alarippu in Tisra Triputa and continued with a rare Varnam - ``Sarojaakshiro" of the Thanjavur Quartet in Kambodhi. Hariprasad sang beautifully, accompanied by Sikhamani (violin). Nellai D. Kannan gave brilliant percussive support. A. Lakshman led the team with good control and expertise, especially during the Varnam. The young dancer fared well in this number, although the Sancharis and facial nuances, describing the agony of the lady waiting for her beloved could have been presented better. The latter part of the Varnam was performed with vigour.
The Marathi composition describing the anger of both Radha and Krishna (Rusali Radha), set to dance by Priyadarsini Govind was very lively and the dancer performed it in a very appealing manner. Equally impressive was the concluding Hindolam Tillana of K. N. Dandayudhapani Pillai, although one missed the intricacies of its format, essential for this number.
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