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Remarkable grip over abhinaya
Priya Murle... good stage presence.
ONE OF Sudharani's premier disciples, Priya Murle, took centre stage at the Mylapore Fine Arts _an artiste not seen much on stage. Priya has a stage presence that lights up, especially when she is performing the abhinaya portions.
Beginning with a few verses from the Thiruppugazh of the saint poet Arunagirinathar, Priya went on the Tathathai Mozhi, a beautiful javali in Kalyani. This is a piece that saw the artiste immersed in the bhakti element in the piece. The yearning nayika pleads to the messenger to carry her message to the Lord _ the love transcending from the mundane to the sublime.
This was followed by the main piece of the varnam, "Engum Nirainda", a compositon of Maduari N. Krishnan in Pantuvarali. This again was full of the bhakti aspect, and Priya's forte for expressions was fully evident especially in the description of the avatars of Lord Narayana _ the Vamana as well as the Narasimha was most beautifully done. "Adhuvum Solluval," a padam salvaged from the Devadasi tradition, "Asaimugham," the Bharathiyar compostion, and "Apacharu" made up Priya's wise collection for the evening. The programme wound up with a Kapi thillana, that was joyful in its exposition _ it had an energy that was fully complemented by the orchestra comprising Nandini Anand (vocal), Sashirekha (nattuvangam) K. S. R. Anirudha (mridangam) and Vijayaraghavan (violin).
Excellent coordination
The first thing that struck one about them was their excellent coordinated movement on stage.
Along with their aesthetically done costumes of red and black, Mridul Vivek and Anirudh Vasudev, students of Chitra Visvesvaran, in all the items that were performed at the Bharatiya Vidya Bhavan as part of the Kartik Fine Arts Dance Festival, proved that well-coordinated movements make for some truly memorable viewing.
With a pleasing orchestral support _ Chitra Visvesvaran (nattuvangam), Murli Parthasarathy (vocal), Shaktivel (mridangam), Veeramani (violin) and Saravanan (flute), Mridul and Anirudh began the recital with an Anjali in Hamsadhwani, in talam Adi.
A composition of R. Visvesvaran, the piece was a prelude to apiece in Bowli, a composition of Annamacharya, which has Lord Venkatachalapthi as the focus. The devotee seeks refuge at the feet of Lord Narayana, and pays obeisance to him, which was done with the right amount of devotional fervour by Anirudh.
The popular varnam in Nattakurinji, "Swami Naan Undan Adimai," that followed, had both of them dancing in the true tradition of Chitra Visvesvaran style _ flowing movements with several leaps and pirouettes that give the artistes their character.
In this, Lord Nataraja is invoked in his various forms _ primarily as the Ananda Nataraja and the joy in its exposition was evident with both of them moving in unison.
Murli Parthasarathy's evocative singing in this item in particular, gave it sheen.
A Meera Bhajan, Pyare Darshan, and a thillana in Hamsanandi, formed the rest of the programme, which made for a very pleasant evening indeed.
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