- T H Sudhamani, Mysore
December 29, 2012
The 26 edition of Parangathotsava, the four day national festival of classical dance and music was inaugurated on 15th December at Jaganmohan Palace Auditorium, Mysore. The inaugural program commenced with mridanga (percussion) by R Dileep (IPS, Superintendent of Police, Mysore) accompanied by Ramesh on morsing.
The next program was by Dr. Vasundhara Doraswamy, who presented a two and half hour solo Bharatanatyam margam. She commenced her program with Melaprapti in Ragamalika set to adi tala, followed by “Janaki Ramana” set to ragam Kaapi, tala adi. The highlight was Sita swayamvaram. The centre piece of the evening was the varnam “Anname Araginiye” of veteran critic Subbudu, a story based on Muruga, Valli and Devayani set to ragam Vallachi on the vipralabdha khandita nayika. Here, Vasundhara’s excellent abhinaya, nritta and nrithya, her theermanams, sancharis and rare hastas were a treat to the houseful of rasikas. The lightning jathis by Sandesh Bhargav added grace to the performance. She has beyond doubt developed her own school of Bharatanatyam, different from the Pandanallur style.
In the second half, she presented Kanakadasa’s composition “Bagilanu teredu seveyanu kodo hariye” in which she depicted Lord Krishna giving darshan to Saint Kanakadasa, turning back, and breaking open the great wall of the temple. This passage is popularly known as Kanakana Kindi. Jayadeva’s ashtapadi in Darbari Kanada was full of shringara rasa. She concluded her program with a Tillana, a composition of Dwaraki Krishnaswamy, with chiselled poses. She was accompanied on vocal by P Ramaa, on mridangam by Balarasia, on nattuvangam by Sandesh Bhargav, on flute by Krishnaprasad and Narayan on violin.
The second day commenced with P Ramaa’s disciple Deepthi Srinath’s soulful one hour Carnatic vocal recital, followed by Maharajapuram Srinivasan’s Carnatic vocal recital. From Chennai, he hails from the legendary Maharajapuram family of musicians. He commenced his concert with the famous composition “Mahaganapathim manasa smarami” of Muthuswamy Deekishitar. The rasikas were mesmerized through the two hours listening to his exposition of ragam, taanam and pallavi. He explored several ragas like Shanmukhapriya, Mohanam, Hindolam etc. The popular composition of Dayanada Saraswathi, “Bho Shambho Shiva Shambo” in ragam Revathi captivated the audience. He continued with devotional compositions of great saints and concluded with mangalam.
The third day was devoted to Hindustani music. Sanjana Kaushik’s striking voice impressed the rasikas. She commenced with Bada Khayal in Srinagar, continued with Chota Khayal in Chayanat and concluded with an Abhang. She is from Kirana Gharana. This was followed by Pandit Jayateerth Mevundi’s Hindustani vocal recital. He is from Kirana Gharana, following the footsteps of Pandit Bhimsen Joshi and Gangubai Hangal. His long rendering of Bada Khayal (Payaliya) in Pooryadhanshree and Chota Khayal in Yaman was outstanding. His “Bhagyada Lakshmi baramma” took the audience to Tretayuga. He concluded his spellbinding concert with popular Abhangs (Marathi devotional songs).
On the final day, Paromita Mukherjee of Kolkata gave a memorable Kathak recital. She explained Kathak beats from Kathak repertory and performed lightning nritta akin to the beats. Her abhinaya piece was full of shringara rasa. Ganna Smirnova from Ukraine presented a neat one hour Bharatanatyam recital. She commenced with conventional Pushpanjali followed by padavarnam of Papanasam Sivam in Natakuranji set to tala adi. She continued with ashtapadi of Jayadeva followed by Tillana where she executed sculpturesque poses and concluded with mangalam.