Reviews

Concert Review: Mylapore Arts Academy (II)

27th Anniversary concerts of Mylapore Arts Academy

Gayathri Girish

Gayathri Girish commenced her performance with Nyanananda Mayam Devam in Sahana, utilising the raga's popular phrases with finesse. This was followed by the Adi tala varnam Karunimpa. A short yet evocative alapana in Nalinakanthi set the stage for the vibrant Manavyalakinchara in Adi tala, a rendition full of energy and vitality. She then explored the rare Bhoga Vasanta raga, offering an alapana that vividly brought out its nuances. This was followed by Amba Sri Rajeshwari in Adi tala, with a full exploration of kalpanaswaram. Adadhu asangadhu in Madhyamavati, by Oothukadu Venkata Kavi, came next. The concert then transitioned to Bagayanayya in Chandrajyoti, composed by Tyagaraja. The highlight of the evening was the main piece, Akshaya Linga vibho in Sankarabharanam. Her elaborate exploration of the raga was coupled with intricate niraval and swaram. This was followed by a dynamic tani avartanam by mridangam vidwan Poongulam Subramanian and ghatam by Trichy Murali, adding rhythmic brilliance to the recital.

She proceeded with a serene Pibare Rama rasam in Ahir Bhairavi, followed by Arabhi Manam, and finally the Sourashtram mangalam. The violinist, Mysore Srikanth played exceptionally intriguing raga alapanas and the percussion artists were flawless throughout the concert.


Dhanush Anantharaman

Dhanush began his concert with the Kanada varnam, Neranammithi, set to Ata tala, delivering a lively start that captured the audience's attention. He followed it with Va Saravana Bhava in Bilahari, complete with swaras that added a dynamic energy to the performance. The concert then shifted to an alapana in Mukhari. This was followed by Ksheenamai Tiruga, featuring swaras and niraval in the charanam. Rama Rama Kalikalusha, a composition by Muthuswami Dikshitar in Ramakali, was next. A vibrant rendition of Parakela in Kedaragowla came after this, its brisk tempo contrasting that of the previous song. This led to a detailed exploration of Sankarabharanam through a raga alapana brimming with classic phrases.

The main piece of the evening, Manasu Svadhinamai followed. The viruttam, a ragamalika featuring Shanmukhapriya, Mohanam, Sindhubhairavi, Kapi, and Jhonpuri, transitioned seamlessly into the soulful Eppo Varuvaro by Gopalakrishna Bharati. The concert concluded with Kannan Idam Eduthu, another ragamalika, before drawing to a close with the Sourashtram mangalam. The percussion artists delivered with precision and were graceful accompanists to Dhanush.

Shruthi Bhat


Shruthi Bhat began her concert with the Reetigaula varnam, Vanajaksha, set to kanda jati Ata tala. Following this was Ganapate suguna nidhe in Janaranjani, a composition of Harikesanallur Muthaiah Bhagavatar, which included a brief set of swaras. The concert moved into Ramapriya with an alapana by Shruthi, followed by violinist Shreelakshmi Bhat's interpretation, which stood out for its melodic grace. They then presented Panam Subramania Iyer's Korina Vara Mosagaiyya, with niraval and swara. This was followed by an alapana in Husseni, leading to a rendition of Arunachala Kavi's Eppadi manam tunindado.

A lively Sevikka vendum ayya in Andolika came next, energising the audience with its charm. The centerpiece of the evening included an elaborate alapana in Kambhoji, leading into Syama Sastry’s Devi ni pada sarasamule. This was followed by the tani avartanam, featuring vidwans B. Ganapathyraman on the mridangam and Sunil Kumar on the ghatam, delivering an engaging percussive dialogue that added depth to the concert.

As the concert approached its conclusion, the artists performed the bhajan Guru bin kaun mitaye in Bageshri, a soulful rendition that brought a sense of introspection. 


by Sarale S

 

 

 

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