Vivacious recital by Lakshitha Saravanan
- A. Boothalingam
March 20, 2016
Lakshitha Saravanan, a senior disciple of Guru Anitha Guha, gave a vivacious Bharatanatyam recital under the aegis of Sri Parthasarathy Swamy Sabha at Sri Sivaswamy Kalalaya, Chennai, on 10th March 2016.
Commencing the recital with the famous krithi “Vande Sadha Padmanabam” in Navarasa Kannada by Maharaja Swati Thirunal, Lakshitha immediately gave proof of her prowess for bringing out the bhava of the lyrics in the opening lines “Vande sadha Padmanabam, pada vandaru samudhaya mandarama malam” meaning those who worship him will be fully blessed. “Bhuri kripakara vilasada pangam” denoting the merciful eyes of lord Padmanaba was also beautifully brought out by the artiste.
Next, Lakshitha took up the famous varnam of Papanasam Sivan “Nee indha maayam” in Dhanyasi set to adi talam, where the heroine questions Lord Krishna whether it is fair for him to indulge in this ‘maayam’ when she fantasizes her being with him. She goes on to say that the cupid arrows of Manmatha are disturbing her and why is Krishna turning a blind eye, in the lines “Paayum maran ambinale thunpurum paavaiyai kannaal paaramal innum.” The nrithya for the lines fully laden with sringara bhava was brought to the forefront which drew appreciation of the audience. The jathis were executed perfectly while Guru Anitha Guha wielded the cymbals to the immaculate percussion of Ram Shankar Babu. The melkala jathi at the commencement of the charanam “Aayar kula deepame, arul thaarai” was delightfully executed by Lakshitha which drew a long applause from the audience. Lakshitha’s araimandi postures, anga sudham and adavu sudham deserve a special mention.
In the Kanditha nayika piece “Mutta vaddura mohananga nannippudu,” the forlorn heroine emphatically mentions that she should not be touched with the hands with which the hero has enjoyed romantic play with another woman. The same meaning was brought out in the lines in the charanam “Kamukelilone kamini chaala premato goodelina shyama bhoopala neecheta.” Lakshitha was again at her best in abinaya for these lines. In contrast, Ambujam Krishna’s “Chinna chinna padam vaithu” in Kapi describing Krishna’s childhood pranks was equally interesting. The concluding piece was a lilting thillana of Maharaja Swati Thirunal in Bhoopalam which brought out all the dimensions of the artiste effectively.
The accompanying team consisting of one of the most coveted artists for vocal support, Kaniyal Hariprasad, effective percussion of Ram Shankar Babu, skillful play of Easwar Ramakrishnan on violin and the melodious flautist Sruti Sagar lifted the recital to sublime heights. Guru Anitha Guha powerfully and musically wielded the cymbals. Lakshitha was a treat to watch with her prowess for nritha and nrithya and she shows all the promise of shaping into a front ranking artist in the years to come.
A. Boothalingam is a former columnist of The Hindu, musician, art critic and promoter.