Vibha Veeraraghavan
| Picture Credit score: S.R. RAGHUNATHAN
The viewers appeared benefit from the dance efficiency, which featured a wide range of fastidiously chosen songs and highly effective choreography. Vibha Veeraraghavan, disciple of Archana Narayanamurthy, founder and managing trustee, Pandanallur Faculty of Arts, introduced her solo Bharatanatyam recital.
Vibha started her recital with a Pushpanjali set in raga Nattai and adi tala. This was adopted by a keerthanai, ‘Adikkondar anda vedikkai kanak kan ayiram vendamo,’ the place the devotee exclaims, “To witness Anandha Tandavam of the cosmic dancer Nataraja, don’t I want a thousand eyes?” Nataraja is a compassionate deity, who saves his devotees in occasions of battle. As he dances, every thing round him strikes, for he’s the supply of all motion within the cosmos. He triumphed in a dance competitors with goddess Kali by putting the Urdhva Tandavam posture, and he turned the everlasting deity (the Sabanayagar) of Thillai, the temple in Chidambaram. This piece is ready in raga Mayamalavagowla and Adi tala, and is a composition of Muthu Thandavar. Vibha’s vibrant actions conveyed the essence of this highly effective music.
Vibha Veeraraghavan acting at Narada Gana Sabha mini corridor.
| Picture Credit score:
S.R. RAGHUNATHAN
Subsequent got here the varnam, ‘Senthilmevum deva deva shivabala’, in reward of Lord Muruga, who resides in Tiruchendur. He’s the destroyer of the demon Surabhadran, the savior of the devas, and the son of lord Shiva. Within the line ‘Cintai irangi ennai ala vā vēlavā vā,” the devotee pleads, “What’s the purpose so that you can neglect my devotion or refuse to know my emotions?” This piece is ready in raga Neelambari and Adi talam, and is a composition by Lalgudi G. Jayaraman. The jathi compositions are by Pandanallur Srinivas. So far as varnams go, this one was completely different. Vibha’s abhinaya and nritta prowess got here to the fore on this piece.
Vibha strikes the Nataraja pose.
| Picture Credit score:
S.R. RAGHUNATHAN
Oothukadu Venkatasubbaiyer’s ‘Kuzhaloothi manamellam’ in raga Kambhoji and Adi tala adopted. Right here, the cowherd says, “Once I hear the melodious sound originating from the bamboo flute performed by Krishna, all my sorrows vanish, and I’m in everlasting bliss.” The younger dancer conveyed the feelings nicely.
The concluding piece was the thillana in raga Paras and Adi tala, a composition by Srinivasa Iyengar. Vibha’s sharp footwork introduced out the spirit of the composition.
The orchestra for the night consisted of Randini Aravind on vocals, Nagai Narayanan on the mridangam, M.S. Kannan on the violin, and Archana Narayanamurthy did the choreography and nattuvangam.
