Much of the dancing associated with the stage was full of the glitter and bric-a-brac of the performing world where obedient executant of the Guru’s learning strove to give highly varnished performance full of aesthetic delight, artistic excellence and technical brilliance. This happened when youthful M P Vidyarani gave a flawless Bharatanatyam performance at J M Palace auditorium. Vidyarani, trained by that prolific teacher and accomplished multi faceted artiste Dr Vasundhara Doraswamy of Mysore accompanied befittingly by Guru Vasundhara Doraswamy (nattuvanga), Ramesh Chadaga (vocal), Narayan (violin), Krishnaprasad (flute), Shivakumaraswamy (mridanga) and Karthick (rhythmpad) showed her right understanding of the nuances of her dance form.Opening with Pushpanjali, Guruvandana the alarippu in trishra flowered artistically through a taut nritta. The juxtaposition of the pillari geetha (Gananatha, Malahari) was a rewarding idea. A quaint Gowdamalhar krithi by Muthaiah Bhagavatar Saarasamukhi was used to sketch the myriad attributes (Maarajanaka sodari, Mahishasura mardhini etc) of the Devi. Both the Guru Vasundhara and the Shishye Vidyarani need to be commended for the presentation of DVG’s famous antahapura geethas in the form of a varna (Munidane Sakhi Cheluva Keshavaraya, Anandabhairavi). The prowdha and the Kalahaanatarita nayikas breathed life into the dancer’s abhinaya. Adigo bandhihane endeared itself with a fine abhinaya and nritta.Captivating performanceSeasoned tablaji Arif Khan’s dexterous fingers, command over laya and excellent manodharma enriched the tabla solo recital that he presented under the aegis of Kala Nadam, led by dancers Nandini Mehtha and Murali Mohan, at the ADA Rangamandira. He expounded the teen tal in vilambit and drut layas. The vinyasa was packed with amads, parans, tihais etc The varied andaazas, different gats, cheeses etc, regaled the audience. An expert Hindusthani vocalist Jayateertha Mevundi’s singing at the same venue reminded the rasikas of his legendary Pandit Bheemsen Joshi. The voice modulations, articulation of the tans and boltaans and the gestures were vibrant and vigorous. Dwelling leisurely on mandra sthayi he elaborated upon Madhura jaave (vilambit) and Khagava (drut) with all the Kirana Gharana ornamentations.Lovely expressionsGopika varma’s Mohini Attam recital was profound and perfect. The nayana and mudraabhinaya, the vilamba laya and the typical music captivated the audience. The swaying and gentle twista and turns of the torso and the body filled the eyes. Maintaining the purity of the dance form she was at her best in the Satwikaabhinayaabhinaya. The portrayal of the tale of Lord Ayyappa in the form of a varna established immediate rapport with the rasikas. She scored well in the enactment of Sri Krishna Tulabhara revolving around Sri Krishna, Sathyabhama, Rukmini and Narada in the typical Kairalee style. Her seasoned expertise fetched rich dividends of happiness. In the Odissi dance projection by the experience dancer Sharmila Mukherjee highlighted the beauty and niceties of the dance form in eloquent terms. The stuti portion of Mangalacharan (ragamalika) in praise of Lord Jagannath followed by Bhoomi pranam and the episodic treatment knit into its choreography and the depiction of the Goddess Saraswathi was well conceived and fairly well executed.
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