Sanjana Rajesh of Upadhye Faculty of Dance, Bengaluru, carried out for the primary a part of Tamil Isai Vizha being held at Rajah Muthiah Mandram on the fourth day of the 45th anniversary sequence.
Sanjana Rajesh titled her efficiency as ‘Avardhana’, paying respects to the Brahma, the creator, Vishnu, the preserver, and Shiva, the destroyer. She started the programme with ‘Brahma sandhi kavutuvam’. She then went on to carry out Pada Varnam ‘Paramashiva nanu paripalimpa’, by Panyam Seetharama Sharma, and Raga Dharmavathi. The Varnam had three sanchari, viz Nandanar Charitram, Kannappar Charitram and Sri Kalahasthi (episodes pertaining to Lord Shiva).
The Varnam didn’t solely check the stamina of Sanjana however her coaching, ability, imaginative college to improvise and to efficiently alternate between pure dance and abhinaya, all these got here collectively, and it was a visible delight. She concluded the ‘Avardhana’ with an merchandise on Lord Vishnu viz Venkatesa, and a high-quality Thillana.
The prime time was that of Embar Kannan, violinist and his disciple Rengapriya Shankaranarayanan, with Sumesh Narayanan on the mridangam. He began with Mallari in Pancharatnam (5 ragas) in Gambeeranattai.
His subsequent choice, ‘Thaye Tripurasundari’ by Periyasamy Thooran in Raga ‘Suddhasaveri’, introduced the Goddess of Thiruvanmiyur Marundeeswarar Temple, which is without doubt one of the 275 Paadal Petra Sthalams, to the reminiscence of the viewers. Kannan then went on to play ‘Arul seyya vendum’, by Koteeshwara Aiyyar in Ragam Rasikapriyaa, which was properly applauded by the rasikas.
The primary or relatively an extended tune was ‘Devi Neeye Thunai’ on Goddess Meenakshi, by Papanasam Sivan in Raga Keeravani. It was performed in its distinctive, meditative, calming character, bringing forth devotion and deep peace. This was adopted by a quick Tani by Sumesh, who performed the proper foil.
Kannan additionally intermittently tried his voice to make the viewers perceive the instrumental music higher. Different songs of the day included ‘Kanavendamo’ in ‘Sri Ranjani’ (Gopala Krishna Bharathi), ‘Adikondar’ in ‘Mayamalava Gowla’ (Muthu Thandavar), ‘Thamatham Thagathayya’ in ‘Mohana Kalyani’ (Lalgudi Gopala Iyer) and on the request of the viewers ‘Chinnanjiru kiliye’ by Bharathiar. The live performance was pleasant and the duo have been vigorous and the length was used judiciously.