The invocation to Devi with verses from Soundarya Lahari (ragamalika, talamalika, Rajkumar Bharati), not only made for a brisk opening in Shweta Prachande’s Bharatanatyam recital, but showcased what one can do to also enhance the aural experience.
To the background of Nattai, a jathi phrase was recited, followed by a chant ‘Om kreem sreem Siva priyaye…’, and again sollus… ‘Roopam dehi jayam dehi’ (Argala stotram refrain) was chanted in between verses in ragamalika.
The vast stage of The Music Academy lets dancers come up with non-araimandi and space-covering movements, but there is a concern this might become a trend. However, Shweta maintained a good balance between araimandi and such steps. Her flexibility, energy and timing shone.
Swetha Prachande ensured she conveyed the emotions with clarity.
| Photo Credit:
K. Pichumani
The bhakti-sringara ragamalika padavarnam by the Thanjavur Quartet addressed to Tanjapuri Brihadeeswara, ‘Sami ninne’, had the nayika convincing him why it is difficult to hug him, because of the Ganga on his head and the serpents wrapped around him.
Shweta has matured as a dancer. Good stamina helped her keep up the vigour while a quiet abhinaya ensured ideas were conveyed with clarity.
Shweta took up ‘Kanthimati thaye’, where the devotees treat the goddess as a child. The dancer, even while engaging with the child, constantly held the Devi mudras.
She finished with a vibrant Sruti Laya piece inspired by Karaikudi Mani’s ensemble composition in Bahudari, Adi, turned into a vocal composition by her singer-husband Ritwik Raja. She lived up to the high-energy performance, ending with a beautiful ode to Devi and Muthuswami Dikshitar — the nottuswaram ‘Vande meenakshi’ in Sankarabharanam.
The backbone of the recital was her orchestra — Jayashree Ramanathan (nattuvangam), Deepu Karunakaran (vocal), P.K. Siva Prasad (mridangam), Easwar Ramakrishnan (violin) and Hariprasad Subramanian (flute). Keerthi Kumar did the light design.
