Ananya Nrityollasa
The Ananya Nrityollasa was held in the Outreach series, under the joint auspices of the Bharathiya Vidya Bhavan, Infosys and Ananya.
Namrata Krishnamurthy, who opened the evening's programme is a student of Poornima Ashok and has performed her Rangapravesha also last year. She commenced her recital with a invocatory piece - "Siddivinayaka" (Gambheera Nata), customarily. In the 'Adenamma' in Farz the 'Navarasa' was rather unimpressive. 'Kanjadalayatakshi' is a popular composition in music concerts also and the Swati Tirunal's composition "Chaleeye Kunjanamo" was in the raga Brindavani. With some more higher training Namrata can reach great heights.
Good future
Poojitha is a student of Nupura and a recipient of scholarship from the CCRT and has performed at a few places, both in and outside India. Her opening item itself, was attractive. It was Pushpanjali, followed by a Ganesha stuthi, from the traditional repertoire.
In the "Alaka Lalla," Poojitha performed the "Yaga Rakshana" and "Mareecha Vadha" and lifting the "Shiva Dhanus." She concluded with a beautiful jawadi "Saami Neeke" in Behag. Poojitha made an immediate impact, and has a good future in the years to come.
A beautiful interpretation
Arupa Lahiri from Kolkata is a disciple of Chitra Visweswaran, a veteran danseuse. Apart from performances, she has also conducted workshops in France, Toranto, Malaysia and a few places in India. She is a postgraduate in English literature and pursuing her PhD and is a recipient of "Sringara Mani" title.
The movements of the opening piece by Arupa followed the patterns of Alaripu, whereas the mood followed the kriti which describes the dance of Krishna. In the Vachaspati varna 'Sakhiye', the pangs of separation and yearning to unite, was well expressed. With her lively presence Arupa Lahiri blended the Nritta and Abhinaya effortlessly. Dramatising the elements her interpretation of the devaranama (Chikkavane Ivanu) was pointed.
Aesthetic finesse
Gayathri Girish, who gave a vocal recital for the Bangalore Lalathikala Parishat, is a vocalist known for consistency, who has performed in major festivals and sabhas of the country.
The familiar "Sri Mahaganapathim Ravatumam" was her choice for the invocation. Less known "Rara Mayinti Daaga Raghuvira" - is a good addition to the concert repertoire. Her brief ragalapana of Karnaranjini (Vanchathonu - Muthaiah Bhagavathar) and Sindhuramakriye (Sadashive - Dikshithar) - were like supporting the compositions that followed.
Her alap for Shankarabharana was noted for the verve, while the stately kriti "Enduku Peddala" was moulded into an essay of aesthetic finesse.
Her Dhanyasi had an arresting quality enriching the delineation of the Pallavi in Tisra Thriputa and Khanda Nade, which was proof of her talent. Tail enders - Sada Enna Hridayadalli, Sri Venkatagirisham and Nagendra Haraya - were also pleasing. Three seasoned instrumentalists - Nalina Mohan on violin, B S Prashanth on mridanga and V S Ramesh on morching - accompanied with good understanding.
The Ananya Nrityollasa was held in the Outreach series, under the joint auspices of the Bharathiya Vidya Bhavan, Infosys and Ananya.
Namrata Krishnamurthy, who opened the evening's programme is a student of Poornima Ashok and has performed her Rangapravesha also last year. She commenced her recital with a invocatory piece - "Siddivinayaka" (Gambheera Nata), customarily. In the 'Adenamma' in Farz the 'Navarasa' was rather unimpressive. 'Kanjadalayatakshi' is a popular composition in music concerts also and the Swati Tirunal's composition "Chaleeye Kunjanamo" was in the raga Brindavani. With some more higher training Namrata can reach great heights.
Good future
Poojitha is a student of Nupura and a recipient of scholarship from the CCRT and has performed at a few places, both in and outside India. Her opening item itself, was attractive. It was Pushpanjali, followed by a Ganesha stuthi, from the traditional repertoire.
In the "Alaka Lalla," Poojitha performed the "Yaga Rakshana" and "Mareecha Vadha" and lifting the "Shiva Dhanus." She concluded with a beautiful jawadi "Saami Neeke" in Behag. Poojitha made an immediate impact, and has a good future in the years to come.
A beautiful interpretation
Arupa Lahiri from Kolkata is a disciple of Chitra Visweswaran, a veteran danseuse. Apart from performances, she has also conducted workshops in France, Toranto, Malaysia and a few places in India. She is a postgraduate in English literature and pursuing her PhD and is a recipient of "Sringara Mani" title.
The movements of the opening piece by Arupa followed the patterns of Alaripu, whereas the mood followed the kriti which describes the dance of Krishna. In the Vachaspati varna 'Sakhiye', the pangs of separation and yearning to unite, was well expressed. With her lively presence Arupa Lahiri blended the Nritta and Abhinaya effortlessly. Dramatising the elements her interpretation of the devaranama (Chikkavane Ivanu) was pointed.
Aesthetic finesse
Gayathri Girish, who gave a vocal recital for the Bangalore Lalathikala Parishat, is a vocalist known for consistency, who has performed in major festivals and sabhas of the country.
The familiar "Sri Mahaganapathim Ravatumam" was her choice for the invocation. Less known "Rara Mayinti Daaga Raghuvira" - is a good addition to the concert repertoire. Her brief ragalapana of Karnaranjini (Vanchathonu - Muthaiah Bhagavathar) and Sindhuramakriye (Sadashive - Dikshithar) - were like supporting the compositions that followed.
Her alap for Shankarabharana was noted for the verve, while the stately kriti "Enduku Peddala" was moulded into an essay of aesthetic finesse.
Her Dhanyasi had an arresting quality enriching the delineation of the Pallavi in Tisra Thriputa and Khanda Nade, which was proof of her talent. Tail enders - Sada Enna Hridayadalli, Sri Venkatagirisham and Nagendra Haraya - were also pleasing. Three seasoned instrumentalists - Nalina Mohan on violin, B S Prashanth on mridanga and V S Ramesh on morching - accompanied with good understanding.