Programmes of Ananya

by | Sep 1, 2022

Carnatic Vocal Recital by Dr. H G Amrutha Varshini

A carnatic vocal recital by Vid. Dr. H G Amrutha Varshini was held at Ananya Sabhangana on 20-08-2022. She was accompanied by Vid. Kartikeya R on Violin and Vid. G S Nagaraj on Mridanga.
Dr. H G Amruthavarshini is a student of the well-known Balabrundam Sangita Gurukulam of Chennai run by SangitaKalacharya vid. Smt. Seetha Rajan who is a disciple of the well-known Semmangudi Srinivasa Iyer.  Balabrundam is known to impart chaste and pure music with emphasis on Sampradaya.  The students are trained to render the music in the classical style with emphasis on Raga and Pada Bhavas of each Kruti without resorting to any gimmicks.  Amrutavarshini also followed this discipline throughout her concert which went on the well tread paths of the past Maestros.  Amrutavarshini has a melodious voice and renders Krutis with full involvement and singing for her own satisfaction first and the Rasikas can see her enjoying her own singing.
Amrutavarshini started her concert with the Kedaragoula Adi Tala Varna “Sami Dayajooda” of Thiruvottriyur Tyagayya to give a good tempo for the program. This was immediately followed by “Ennagana Ramabhajana” of Bhadrachala Ramadasa in Pantuvarali and Rupaka Tala.  Some of the Kritis following this are not very well known to the Bangalore Audience and hence, were of great interest. Also her School is known to render the Kritis of the great composer Muttuswamy Dikshitar with Alapana and Madymakala Swaraprastara.  Her next Kriti Narasimha Agaccha was one such Kriti of Diksitar in Raga Mohana set to Mishrachapu tala.  The lilting movement of the song in the Chapu Tala was followed by the well-known “Marugelara O Raghava” of Tyagaraja in Jayantashree Raga and Adi Tala and  rendered with full Bhava.  She next took another Tyagaraja Kriti the slow-phased “Entani ne” in Raga Mukhari and Rupaka Tala.  The melody and the pleading notes of the lyrics  were given true expression by the soothing and pleading style of the artist.  The Kriti had an Alaapa which brought out the raktitva of the raga mukhari effectively and neraval and  Swara Prastara in the charana line “kanulara sevinchi” which portrayed the mood and essence of the Kriti.  The same somber mood was continued in the Tamil piece “Gnyana Sabhayil” of Papanasam Sivan in Saranga Raga and Mishra Chapu Tala.  This Kruti is also generally not rendered by the local artists for the same reason.  “Govardana Gireesham” followed next and showed her equal mastery over Samskrita Krutis of Diksitar.  The well sung Hindolam Kruti smoothly moved the moods of the audience to listen to the main piece of the Cutchery in Raga Saveri.  Her Alaapana was in the well tread path but with a lot of bhava infused throughout making the listener ready to hear the Kruti.  Surprisingly instead of rendering the well known Krutis in the Raga she chose a relatively unfamiliar one “Sripati Mukha Virachita Pujye” composed in Samskrita by Shyamashastry.  Though the song was not familiar to the audience, they were not disappointed by Amrutavarshini who rendered the Kruti melufluously  followed by a detailed Swara Prastara which brought out all the nuances of the Raga. The loud applause which followed the Kruti showed how the audience had been mesmerized by the Artist.  Purandara Dasa’s Nilambari Devaranama “Toogidale Rangana” which is also not a popular Kruti was a real lullaby for the audience with its slow phase and melodius sancharas. The Jayadeva Ashtapadi in Raga Bageshri “Radhika tava Virahe Keshava” continued the phase.  She concluded her Cutchery with a Tillana of Patnam Subramanya Iyer in Khamach.
She was ably supported on Violin by Vid.S.R.Karthikeya and on the Mrudangam by Vid. G S Nagaraj whose Taniavartanams has some new Karanams and Koravais. Her friend and co-disciple of the Gurukulam, Vid. Dr.Jyotsna Vivek gave the Shruti sahakara.
Vidushi Amruta Venkatesh who rendered a vote of thanks appreciated the performance of Amrutavarashini. She noted that the Artist was singing in the purest form and was singing for her own self satisfaction which is a rarity these days when the artists always sing for the applauses of the audience.  Her timing and the variety she gave in a tightly packed and well planned manner showed decades of hard work, patience, practice, diligence, discipline and complete involvement.  Amruta Venkatesh also appreciated that Amrutavarshini in addition to the stage performance was also an excellent teacher and training many in her own style. To be a performing artist and a good academician is hard to balance but Amrutavarshini is a shining example of one who is doing both so beautifully.  There was a good attendance and the audience was spell-bound and listened till the end for more than two hours.  Overall, the program was a satisfactory event.


Ananya Nruthyollasa -74

– Kavya Kasinathan 

Ananya Nruthyollasa is a platform that showcases noteworthy performances by serious practitioners of classical artforms. The captivating performances by three artists on August 28th at Seva Sadan was no exception.
The evening began with a lively performance by Vid. Samyukta Shankar, disciple of Karnataka Kalashree Guru Smt. Revathi Narasimhan. She began with a Shloka invoking the blessings of Lord Ganesha and then continued to present the evergreen and popular Varnam – “Sri Krishna Kamalanatho”. With a confluence of confidence and poise, she masterfully portrayed the various leelas of Krishna in the Varnam. Beginning right from the birth of Krishna, the choreography deftly took us through different episodes of Krishna’s life. Samyukta then presented a Devaranama praising the Ramadhoota – Hanuman. Through saint-poet Purandara Dasa’s composition “Hanumantha Deva Namo”, she portrayed several instances from the Sundara Kandam of Ramayanam. Her neat and involved presentation was a befitting start to program.

This was followed by the elegant and captivating Mohiniattam performance by Vid. Thomas Vo Van Tao. Presently training under the guidance of Dr. Neena Prasad, his lucid style of dancing was truly enchanting. He began with a Ganesha Sloka and then presented the famous Anandha Bairavi Swarajathi composed by Melattur Veerabhadraya depicting a Nayika who is requesting her friend to bring her Lord to her. “He seems to have  listened to the words of the other jealous woman…. Has he forgotten me? Please go bring him.” The curvaceous and graceful movements that were set to the swara patterns of the Swarajathi enhanced the elegance of the presentation. He concluded his performance with a Swati Tirunal Padam in raga Kurinji depicting a lovelorn Nayika who is pining to be one with her Lord Padmanabha. Communicating with subtle and expressive eye  movements, he painted each of the Nayikas with great ease. When grace and perfection meet, there is an energizing aura that is created.

The concluding performance by Vid. Sreejaya Nair, disciple of Guru Smt. Chitra Chandrasekhar Dasarathy, created this wave of energy. Beginning with a Mallari, her presentation exuded a magnetic vibrancy. She then presented the Kamach Swarajathi. The choreography artfully weaved the attributes of Ardhanareeshwara to the Pallavi line. Short and crisp jathis enhanced the beauty of the Swarajathi. She concluded her performance with a Sarangapani Padam – “Mogudochi Pilachedu”. The intense feelings of love towards her Lord Venugopala reflected in every action of the Nayika who was forced to choose between her Venugopala and her lawfully wed husband.

Every performance was undoubtedly a treat to the receptive Rasikas present!




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