Vaggeyakara Bharatham: A performance that facilitates dance-music interaction

The 4th variation of Vaggeyakara Bharatham, organised by Natyarangam, featured a collaboration betwixt Carnatic vocalist Aishwarya Vidhya Raghunath and dancer Parshwanath Upadhye. The duo explored a fewer compositions from the immense repertoire of songs often sung in concerts.

Alternating betwixt solo and radical presentations, the evening began with ‘Sree Maha Ganapathi ravathumam’ — a creation by Muthuswamy Dikshitar successful Gowla raga. It was presented by the students of Parshwanath’s Punyah Dance Company. This kriti, which is sung arsenic an invocatory fig earlier Kamalamba Navavarnam, was danced to, incorporating the narrative of Sundaramurthy Nayanar’s prayers and Ganesha coming to his aid. The creation sequences were noteworthy for the clarity of movements and formations.

Shruthi Gopal danced to the Kapi varnam ‘Chalamela’, composed by Vadivelu (of the Tanjore Quartet). After establishing the exalted presumption of Brahadeeshwara, she explored the assorted sancharis portion maintaining the sthayi bhava throughout. The sameness successful nritta patterns brought successful a small weariness, reducing the impact.

Next, Parshwanath Upadhyaye, Aditya P.V. and Shobith Ramesh took up Dikshitar’s classical creation ‘Sri viswanathan bhajeham’ (set successful 14 ragas), . The effortless easiness with which Aishwarya transitioned from 1 raga to another, bringing retired the varied nuances, made her singing enjoyable. Well-coordinated movements and precise footwork, interspersed with absorbing narrative, kept the momentum alive. The show slackened during the dancers’ effect to the swara passages, which were repetitive.

Adithya chose the beauteous Kshetrayya padam ‘Rama rama prana sakhi’ for his solo performance. Choreographed by Bragha Bessel, the series conveyed the pangs of separation experienced by Krishna for his beloved done comparisons with Rama’s affectional turmoil during Sita’s absence. Adithya’s transitions betwixt Krishna and Rama, and the accompanying bhavas, were depicted with sensitivity, though a small much internalisation and recognition with the ideas would person added depth.

The astir impactful creation was the concluding Periyazhwar Thirumozhi ‘Manickam Katti’ tuned by R.K. Shriramkumar successful ragas specified arsenic Nilambari, Hamirkalyani, Khamas and Surutti. Parshwanath and his disciples breathed beingness into this lullaby-like piece. Preeti Bharadwaj‘s choreography for this was marked by graceful moves and formations.

Once again, determination was not overmuch enactment betwixt the 2 mediums — euphony and creation — to marque the acquisition genuinely enriching.

The orchestra comprised Gayatri (violin), Praveen Sparsh and Harsha Samaga (mridangam), Preeti Bharadwaj (nattuvangam) and Kalyani Vaidhyanathan (tambura). The creation squad besides included Navya Bhat, Dhanyashree Prabhu, Mahalakshmi, Sarveshan, Vibha Raghavendra and Akshada Vishwanath. Lighting plan was by Anand.