BANGALORE: The musical lineage inherited by an aspirant has a significant role to play in shaping one’s musical personality and when he/she is blessed with impressive vocal chords, meaningful musical articulation is assured. This was the kind of experience the listener had in the Carnatic vocal recital by Aniruddha Sridhar under the Yuva Sangeetotsava presented by Sri Mahaganapathi Sangeetha Sabha at Sri Mahaganapathi temple, Devasandra, Krishnarajapura. The Sabha situated at Krishnarajapura, though a recently set up one, has done creditable work by arranging a variety of music concerts, seminars and workshops. The five-day Yuva Sangeetotsava held last week was yet another milestone in the annals of the Sabha. Young and rising musicians were provided with a stage to exhibit their talent. The music festival turned out to be a rewarding one as the blossoming artistes gave an admirable account of themselves. Aniruddha Sridhar is trained by the versatile vocalist R K Padmanabha. His mother Jamuna is also a singer. His hard work and the determination to give out the best, paid rich dividends. The young singer sang with gusto and style. Yes, there were a couple of overenthusiastic moments and movements in his recital. But they were not of a big consequence. For, his latent talent and musical skills overshadowed the discrepancies. Singing with exuberant gestures he embellished his renditions with all the Carnatic ornamentations. Even the selection and execution of ragas and krithis was noteworthy. The creations in Sunadavinodini(Devadi Deva), Mohana Kalyani(Bhuvaneshwariya) and Kalyani(Vasudeva eni) had vigour and much of musicality. Though they could have been more refined, the swift renditions were impressive. After the tani avartana for the neraval and swaravinyasa portion in the Kalyani suite(Raga tala gatulanu) he took up the pallavi line rather than the neraval line which raised the eyebrows of serious rasikas. Bho Shambho in Revathi raga was adorned with beautiful tanas. Young violinist Narayana Sharma, the son of a singer-scholar-vice chancellor of Tumkur University Dr S C Sharma gave a good account of himself. Uttam(mridanga) and Chetan(morsing) were the agile collaborators.Gentle SowmyaSeasoned guru Nagabhushan of Aradhana School of Dance presented his 21st rangapravesha at the Ravindra Kalakshetra. His disciple Sowmya R Purohit rose to the occasion and upheld the name and fame of her guru. Gifted with a round face, captivating eyes and hold over laya she drew the attention of the rasikas with her unostentatious presentations. Her bhramaris had flow and stability. Her bhangis had the right deflections and curves though the ardhamandali needs some more work. The use of Kannada compositions was welcome. The traditional Pushpanjali was followed by a Ganesha stuti. Kanakadasa’s Nammamma Sharade(Mohana) which is in a question and answer form provided Sowmya enough material to sketch the Lord of Obstacles. The etching of varied forms of Ganesha on the basis of His different names was eye catching. Through Kanakadasa’s Elu Narayana(Bhowli, with a shloka Kowsalya Suprajarama) Lord Narayana was appealed to get up from his sleep and protect the devotees. With a couple of hiccups in rhythm not withstanding, the Athana varna(Ninnane neranamminaanura Krishna) addressed to Lord Krishna was the mainstay of the evening. Various Krishna leelas including Kalinga mardana, Kamsa vadha, Kuchela prasanga etc, were depicted by using the side wings of the stage for a better effect. As usual her guru Nagabhushan led the show with both nattuvanga and singing. In the post interval session Bagilanu teradu(mishra Hindola) and Mahadeva Shivashambh (Revathi) were applauded for Sowmya’s gentle abhinaya. Pharaz tillana and Dashavatara mangala were the concluding numbers. Cine actor Ravindranath’s anchoring too was appropriate.
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