Upholding the Carnatic music tradition and classicism a perceptive vocalist by avocation and a noted eye specialist by profession Dr BR Padmanabharao packed his concert at Sri Shankara Math, Shankarapura held during the Dasara festival with neatly sung items.I was very happy to observe that he has been making a steady progress from concert to concert in his singing abilities and artistry. There was depth in his music and admirable dimension in concert technique.Without resorting to any type of unwanted and unnecessary tactical maneuvers he sang with a sincerity of purpose.With Venkatesh Josier (violin) and C.Cheluvaraju (mirdanga) as his useful co-musicians, he began with a stotra on Lord Ganesha. The short overtures of Saraswathi(Saraswathi namostuthe, with chittai and kalpanaswaras), Hindola (Chintayami Jagadambam, with swaras), Sama (Annapoorne) and Reetigowla(Kamalambam rakshatumam) were laden with apt, short and sweet phrases.He underscored the underlying emotions of the krithis with suitable sense and time pauses. His expertise in Carnatic aesthetics made the raga Shankarabharana a glowing one.Meticulous veena playInstrumental virtuosity ruled the veena concert presented by the veteran veena maestro Rudrapatnam Keshavamurthy Prakash at the above venue. The vainika has mastered the instrument and evolved his own remarkable technique and rendition.Adding laya weight with their anticipatory support to the concert were Cheluvaraju(mridanga) and Dayananda Mohithe(ghata). Prakash’s veena recital proceeded on almost predictable lines.He opened with popular Veda mantras which sound more loved on the veena.The Todi varna created a congenial ambience for a rich listening experience.Vatapi Ganapathim(Hamsadhwani, with all the manodharma exercises) was crisp and contained well-starched syllables and sequences produced with nimble, fluttering and frisking fingers.Likewise Endaro Mahanubhavulu(Sri) was dressed up with countless sangathees.Agile movementsIn the female dominated domain of Bharatanatya, a successful rangapravesha by a male dancer is a rarity. And such a rare performance at the ADA Rangamandira by Shishir Sastry was rewarding.The form, movement and abhinaya including the movements of the eye of Shishir Sastry, son of S Shadakshari and a disciple of Guru Praveenkumar of Chitkala Dance School exposed the impress of good training and hard work.It was further interesting to watch that a couple of Shadakshari’s own krithis penned for the occasion and to suit the male dancer being executed neatly.Appropriately accompanied by Guru Praveenumar (nattuvanga), Balasubramanyasharma (vocal), Dayakar (violin), Narasimhamurthy (flute) and Srihari (mridanga), Shishir was able to get into the crux of the laya and bhava intricacies in the opening alarippu and the central piece (varna) and a krithi on Goddess Saraswathi.The agility of movements and sensitivity of expression(barring a few overzealous and overdone moments) established an intimate rapport with the rasikas.
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