The audience took a plunge in the pond of musical bliss through the vocal recital presented by veteran and versatile vocalist R K Padmanabha at Sri Karyasiddhi Mantapa in the premises of Sri Ganapathi Sachchidananda Ashram, Girinagar. They reacted most wholeheartedly to situations in which shruthi, swara and voice attained that magical balance. Situations in which the creative imagination was oozing; also emitted the lava of the soul. Everything went in his way. His throat and voice obeyed his commands more or less instantly. So did his swaras.The swara or voice knew no flicker. The cardinal notes received a bold and forceful treatment and stood like a full moon before our vision. Each and every note was of great charm and powerful. This kind of flamboyance and zest prevailed upon his concert.His voice culture was superb and created waves of sound in the lovely auditorium. The sound scholarship, shruthi oriented phrases, the grandeur of vilamba kala, lively middle tempo, rich voice that encompassed three and half registers, closed and open mouthed singing et al satiated the ears.He began with a Vadiraja stuti in Reetigowla raga.After saluting Sri Ganapathi Sachchidanandaswamiji he sang Dwaithamu sukhama in a leisurely pace. The kalpanaswaras sharpened the listening experience.Narayananinna(Shuddha Dhanyasi) and Narayana enniro(Hamsadhwani) vouched for his excellent expertise. He fondled the sahitya of the song Seethapathe (Khamach) and Ninna dhyanavakodu (ragamalika) and Govindagopala (Sindhu bhairavi) left an indelible mark in the minds of the listeners. The entire gamut of his perception of the Kanakangi raga bhava and the vast range of experience found full exposure in its delineation. The all-shuddha- swara-raga Kanakangi was punctuated by frequent poignant moments, harking back the bhava aspect. The sarvalaghu, janti, daatu swaras in mandra, madhya and taara sthayis glistened with brilliance. Paeans to Poojya Appaji were heart touching. The nuances of Kharaharapriya raaga were captured in the waves varied taanas. He sang his own composition Sachchidanandage sallisu namanava in praise of the Swamiji. It reminded me of the Bhairavi swarajathi of Shyama Sastry. His composition seemed to be a step further ahead of the age old krithi. For, the above song began with a swarakashara like text in the ascending order of the scale of Kharaharapriya.The neraval and swaras at panchamadindale patitara paavanagolisuva were exhilarating. C N Chandrasekhar(violin), B C Manjunath(mridanga) and M A Krishnamurthy (ghata) enhanced the creative appeal of the recital. His prizedisciples K V Krishnaprasad and Deepak lent the shruthi support.Delightful duetArchana and Chethana, disciples of Guru B Bhanumathi doled out an enjoyable duet Bharatanatyam at the Yavanika on the last day of Ankura Nrithyotsava of KNKP. It was noteworthy that herself a talented Bharatanatyam performer young Shruthi Rajalakshmi came out in flying colours as a sensitive vocalist. The twin sisters rendered Sri Mahaganapathi Gowla with ease. Flautist Dwaraki Krishnaswamy’s Kannada varna(Bhuvanasundarana, Khamach) address to Lord Krishna glowed forth in their abhinaya. Mahadeva Shambho was interspersed with Natesha kauthuvam and Rudranamavali to an artistic effect. Guru Sheela Chandrasekhar’s nattuvanga was meritorious.Neat OdissiIn the concluding Odissi recital Manasi Raghunandan aided by a recorded music support etched abhanga/ tribhangas neatly and demonstrated a commendable hold over vilamba laya. Now settled in Bengaluru, Manasi presented Mangalacharana, Ashtapadi(Haririva, mishra Khamach) and Vasantha pallavi with professional elan. The enactment of various forms of Devi Durga like Bana, Ghora, Shakthi, Mahishasuramardini etc was precise and perfect.
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