Well-nuanced choreography and emotive storytelling were the highpoints of A. Lakshmanaswamy’s performance

The precocious infinitesimal of the inaugural performance by A. Lakshmanaswamy — for Krishna Gana Sabha’s 69th Margazhi Mela — was an excerpt from ‘Shivagitimala’, by Sri Chandrasekharendra Saraswathi of Kanchi Kamakoti Peetam. The varied emotions were explored successful item successful this portion acceptable to raga Durga.

The opening number, a jatiswaram composed by Madurai N. Krishnan successful raga Rasali, offered a vibrant commencement and stood retired for the dancer’s precision and finesse successful movements.

The Karnataka Kapi varnam, composed by Swati Tirunal, ‘Sumasayakha’ dealt with the acquainted terrain of a Nayika beseeching her Padmanabha to relieve her from the tormented authorities of emotion she is in. From establishing the authorities of her viraha successful the opening lines, the sancharis depicted emotion successful each its hues. However, the predominant portrayal of Manmadha and his arrows astatine varied points, though applicable to the theme, proved a small weary. The leisurely pace, successful which the varnam was danced and the comfortableness that Lakshmanaswamy shared with his philharmonic team, reflected successful his nritta and abhinaya. 

‘Yaaro ivar yaaro’ the fashionable opus from Arunachala Kavi’s Rama Naatakam, dealt with the beautiful sequence of Sita and Rama catching a glimpse of each different earlier the swayamvara. The detailing of Sita playing with her friends, and the speech of glances were poetically delineated.

The presumption concluded with a Thanjavur Quartet thillana successful raga Mandari. The accompanying artistes — vocalist Hariprasad, Nellai Kannan connected the mridangam, Kalaiarasan connected the violin, Muthukumar connected the flute and Sudharma Vaidhyanathan connected the cymbals — were an plus to the performance.