Chaitra Rao.
| Photograph Credit score: Particular Association
It was a efficiency the place melody and motion complemented one another to make up a night excessive on aesthetics. Because the curtains went up, the dancer stood going through the backdrop, as she rotated to face the viewers, her statuesque ardhanari pose made one sit up. From that second, via the hour-long present, Chaitra Rao’s skill to speak concepts and emotions together with her abhinaya, which seamlessly intertwined with Rohith Bhat’s bhava-soaked singing, sustained viewers curiosity.
Chaitra started her efficiency for Natyarangam’s month-to-month collection at Narada Gana Sabha’s mini corridor with verses by Adi Shankaracharya describing the numerous aspects and attributes of Shiva and Shakti within the type of ardhanarishwara. The easy transition from male to feminine via contrasting actions of vigour and beauty was the spotlight of the piece. Significantly noteworthy was her sleek ‘attami’ (head actions). Music for these verses was by M. S. Sukhi .
Within the subsequent piece, Chaitra shifted the main focus to Krishna. Her face become a canvas of feelings on this composition. The central piece of the night was the favored Kalyani raga varnam, ‘Sarasijakshudu’, composed by Sivanandam of the Tanjore Quartet. It talks concerning the frame of mind of a nayika besotted by Rajagopalaswami of Mannargudi. Her nuanced abhinaya conveyed the various metaphors within the lyrics. The interpolation of theermanams in the course of the description of varied musical devices within the charanam traces ‘Nada Vidya’ livened up the choreography (by Chaitra’s guru Indira Kadambi).
Then got here an Ashtapadi. It portrayed the anger and ache of Radha. Set to raga Sindhubhairavi, it moved at a leisurely tempo and was shorn of extreme dramatisation. Radha’s is deeply damage by Krishna’s infidelity. Chaitra’s visualisation was riveting.
Ramya Suresh competently wielded the cymbals, however wants to realize extra confidence. Harsha Samaga’s delicate rhythmic prospers on the mridangam heightened the efficiency’s affect whereas flautist Nitish Amanaya’s enhanced the musical expertise.
