Harini Rao gave a Hindustani vocal concert at Shilparamam’s open air stage recently. Harini displayed a disciplined approach to the three phases of rendition of the composition in vilamba, madhyalaya and druth phases with freedom of expression and an aesthetic approach in detailing of bandish, exploring its possibilities within the bounds of the raaga. She was accompanied by Rahul Deshpande on harmonium and Srinivas Haridas on tabla.
The time being limited, Harini condensed her show and restricted to three compositions of high value. She focused more on raga expansions. She chose three ragas Bhimpalas in madhya laya bandish that she took good time for its expansion, going straight to madhayalaya, saving time for the prolonged vilambam. She displayed her command on the notes that formed the structure of the raga staying for a while on each of these notes with stylish Hindustani expression. The composition she presented was Sundara Shyam in Jhaptal. And the bandish was at Gore Mukh in Teen taal. She impressed with her vocal verve that has good reach in higher octaves. And her vocal expression was pleasing and melodious.
The second number Harini chose was raag Madhuvanti that was elaborated for about ten minutes again to elaborate aalaap followed by chhota khyal Sri Ambika Jagadamba Bhavani in Teen taal.
She then embraced the number - a Tappa in raag Bhairavi. This was the composition of Pt. Vishnu Digambar Paluskar’s Baithe Saguna in aadha Teen taal. A Tappa is generally rendered in Punjabi or Persian languages. But this was special number because it is related to Ramayana. This reflects the agony of Kausalya due to her separation from Lord Rama, Sita and Lakshmana.
It was quite a moving presentation and Harini rightly expressed it through her rendition. The final raga she dealt with was popular Bhimpalasi again in Madhyalaya bandish Sundara Shyam in Jhaptaal. She took good time for this bandish and then chose Gore Mukh so in Teen taal was her bandish. As usual the role of the accompanists could be seen much in the druth parts, yet they gave active support.
Apoorva Malladi’s recital
US-based dancer Apoorva Malladi gave a recital at Shilparamam’s open air theatre, last week. She belongs to Dandayudhapani Pillai School and learnt dance form his disciples at Chennai. She performed to live orchestra comprising nattuvanar Karra Srinivas, Karra Subramanyam on mridangam, A.S. Murali from Chennai as vocalist, Venkatesh on flute and Tejaswy on violin. Murali also lent vocal support occasionally.
Apoorva opened with a nritta based invocatory number in Ghambheeranata paying obeisance to goddess Shyamala. Later she chose to pesent a Sabdam in Telugu, Sirulu Minchina . This was set in ragamalika. The number curiously was combination of some verses from Janardana Ashtakam penned by Kandukuri Rudra Kavi and choreographed by her guru Madurai N. Krishnan. While presenting this abhinaya number she interpreted the basic theme in right earnest.
Next, Apoorva chose to present Padavarnam in Malayamarutham. This composition was written in praise of Maha Vishnu. The many charanas that went in praise of the Lord were separated by impressive Jatis to varied tala patterns. Apoorva presented this number with care and perfection never losing sight of sahitya. The major attraction was jati spellsnot repeating the the tala structures.
She then also chose to present a Javali Vagalaadi written by Thirupathi Narayana Swamy tuned in raga Behag, Roopaka taalam. The very word ‘vagaladi’ indicates the nayika here is a quite mischievous. The composition was well rendered. Apoorva presented another javali Emanudune in place of tillana. a composition of Dharmapuri Subbarayar.
