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Zealous tradition
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A week when the students and gurus shone bright together
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Entertaining performances B. Shankararao
Learning classical Carnatic music by listening to the guru’s musical lineage is of great importance. The karna parampara or auditory tradition would certainly help a musician imbibe all the positive qualities. The third anniversary celebration
of Sri Guru Sarvabhowma Music Academy led by a zealous and youthful singer-teacher B.R. Srinidhi held at Sri B.M. Sri Kala Bhavana testified to the above observations.
Srinidhi has assimilated the nuances of the Carnatic vocal music from traditional maestros.
His training under the Gudubande Brothers in particular has been immensely fruitful. It was good to see Srinidhi’s students absorbing the delicacies of music to the required extent. And the systematic training imparted by him to his students was evident in the group presentation of the majestic Bhairavi varna (in two kalas) followed by “Marubalka” (Sriranjini), a pada “Karunisi kelo karunigararasane” preceded by a Ugabhoga (“Jagada suttha ninna maaye”). One could see a prospective crop of potential musicians in them. The young accompanists H.S. Keshavaprasad (violin) Rajiv (mridanga) and Mukund (khanjari) also did well.
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Veteran flautist B. Shankararao was honoured with the title of “Guru Kala Bhushana” recently. After receiving the honour, it was gratifying to listen to his short and compact flute recital ably accompanied by his senior disciple K.V. Mathura on the second flute. Vinay (third flute), Savitri (violin), Vasudevarao (mridanga) and Mukund (khanjari) were the other co-artistes.
Shankararao stuck to the tradition and classicism of Carnatic music. His paathaanthara was formidable. And hence the creation of music was also value based. In his concert there was no place for gimmicks or cacophony.
Dancers at the Rasa festival
The inaugural Vasantha varna (in two speeds) gave a polished lift to the concert. All the facets of artistic accomplishments were there for the asking. The Lord of Obstacles was saluted with “Maha Ganapathim” (Nata).
Rao seems to be fond of Bhairavi raga. He has done exclusive and extensive research on this raga, believed to have therapeutic value.The rendition was comprehensive and all pervasive. The popular devaranama “Odi baarayya” was rendered with textual clarity. The neraval and kalpana swaras spoke of the veteran’s mastery over the medium and the mode.
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The navarasas were brought brilliantly to the fore during the “Rasa” dance festival held at the A.D.A. Rangamandira under the auspices of International Dance Alliance and the Padmalaya School of Dance run by veteran dancer-guru-choreographer Padma Murali.
The nine elements were evoked in the medium of Bharatanatya, Kathak, Kuchipudi natya, contemporary and folk dances.
Guru Padma Murali’s disciples Sadhana, Maithreyi, Sharada, Jyotsna and Niveditha came together to conjure the beauty of Bharatanatya and the navarasas. Basing their delineation on the recorded fusion music “Swara Utsav” rendered by the famed violinist-brothers Kumaresh and Ganesh, the dancers were admired for their group discipline, unity of thought and action, and matching artistry.
Talented Kuchipudi natya artiste Divyasena from Chennai did full justice to the selected theme and her dance form. Drawing lyrical support from Subramanya Bharathi’s verses set to ragas like Shanmukhapriya, Maand, Hamsanandi etc., the dancers enthralled the rasikas with their dedicated demeanour. Divyasena and her troupe brought out the essence of the veera rasa in their neat and tidy exposition.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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