Offline events in Ganabharathi are restarted to the delight of the Rasikas

vocal concert by vid. Pattabhirama Pandit and a dance version of Kalidasa’s “Meghadoota” by Raasavrinda delight the audience

By Rasikapriya

Mysuru’s Ganabharathi has never been left behind when it comes to instilling the scent of classical music and dance in the connoisseur. The quality of the programs on offer speaks loudly to his dedication to the arts.

In fact, it was Ganabharathi who was the first to volunteer to rescue artists in dire need of financial help during the pandemic. It also kept their morale high by organizing online concerts. Offline concerts are slowly beginning for the enjoyment of artists and rasikas.

Recently two programs were held at Veene Seshanna Bhavana which were very satisfying and enjoyable.

A classical chant in memory of DV Narasimha Rao and Smt. D. Tripurasundari was by Vidwan Pattabhirama Pandit (February 18) and a dance version of Kalidasa’s “Meghadoota” (February 26) by Raasavrinda. Both programs were excellent and remarkably good.

Vidwan Pattabhirama Pandit is a renowned performer nurtured by excellent singers. His rich voice, pure classical and emotionally charged rendition are part of his engaging singing.

He was accompanied by Mathur Srinidhi on violin, HS Sudheendra on Mridanga and GS Ramanujam on Ghata.

The opening kaanada varna “Neranammiti” at a moderate tempo led to a crisp kalpana swaras that kept the listeners awake.

Tyagaraja’s “Tulasidala” in raga Mayamalavagowla was a decent presentation. A neraval in ‘Saraseeruha punnaga champaka paatala’ literally diffused the fragrance of flowers through his fertile Manodharma. The kalpana swaras perfectly matched the composition.

Pattabhirama Pandit immediately dives into the depths of the composition to bring out its true spirit. As a result, every phrase he sings is emotionally charged. ‘Eccharikaga raara’ (Yadukulakambodhi) and ‘Sukhi evvaro’ (kaanada) – Tyagaraja’s gems exemplify this.

Kaanada was the main raga of the day. Pathos reined in the whole Alapana. Rasikas were carried to another world by both Pandit and Mathur Srinidhi’s draining imagination. Srinidhi was equally good and supportive. The rhythmic support provided by HS Sudheendra and GS Ramanujam enhanced the musical experience.

‘Raasavrinda’ of Mysuru is known for its traditional, purely classical dance performances. Vidushi Nandini Eswer and Dr. Rohitha Eswer are the spirit behind all their productions.

dr Rohitha Eswer and Chinmayee Bharadwaj present a dance version of Kalidasa’s “Meghadoota” at Ganabharathi on February 26th.

Her further experiment “Meghadoota” by Kalidasa was a great success on the stage of Veene Seshanna Bhavana.

It was in memory of Smt. Saraswatamma Ramahastry. Without sticking to any particular style, they had woven this poetry into beautiful dance mediums.

Compressing 4th or 5th century poetry from 115 to 12 verses is certainly not an easy task. Kalidasa has captured the scenic landscape from Central India to Alakapuri in the Kailash Mountains through this beautiful work.

The Yaksha, an assistant to Kubera, is in exile due to his carelessness at work. Away from his beloved wife, Yaksha is in sorrow as he sees an elephant-like cloud in the sky.

He persuades the cloud to take his message to his beloved wife at Alakapuri on Mount Kailash, who is anxiously awaiting his return. He describes the beautiful sights he will see on the way to Alakapur.

dr Rohitha Eswer, with just one other dancer, was absolutely successful in describing the beauty of nature along the Megha’s journey.

He lived up to the role as a yaksha. Chinmayee Bharadwaj gave a visual description of his thoughts. The trees, flowers, fruits and rivers were revealed with graceful movements.

Both took the audience with the cloud. Dance concept and direction came from Dr. Rohitha Eswer and the narration of Vid. Shantala Vattam deserves a mention. The rich music (Pt.Vishwamohana Bhat) captivated the audience throughout.

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