The disarming smile came into action in the Shabdam which with Kambhoji as the main base raga went into short sequences in Todi, Kalyani and Surati. Conducting the recital with the assertive Nattuvangam power was Geeta Chandran with Venkateshwaran’s vocal support combining classical purity with involved melodic richness.S. Set to Satyanarayana Maharana’s music in raga Bairagi and Jati tala, the dance composition, with fleeting nritta flashes between interpretative passages was interestingly paced. Leela recollected the trepidation with which she and her ilk went through their respective debuts with giants and acclaimed gurus conducting the China mold parts Manufacturers recital.The Odissi departure in this pure Bharatanatyam scenario was made by Madhyama Segal, Sangini and other students of Pallavi the institution run by Kiran Segal. Preeti Mahesh’s interpretation of the Oriya lyric “Batto Chhado suhato nagaro Jamuna Jibi Neera Aniki. The concluding note was the Tillana in Rageshri.

This arangetram for a change, exemplified what this occasion should be — with friends, well-wishers, old school and college teachers of the dancer — exuding a sense of fulfillment for the student, her family and the teacher who had passed on what she had had been given by her acharya to a deserving student. The post-varnam pure abhinaya part comprised Vaideeshwaran Koil Subbaramaiyer’s Padam “Aduvum Solluval” in Saurashtram. Raghuraman, (hailing from a family of Nattuvanar/musicians) she still recollected the image of the young boy in half pants attending concerts.Preethi Ramaprasad a student of Sudharani Raghupathy, residing in the United States, in her Bharatanatyam presentation at the Stein auditorium faced the disadvantages of a very scanty gathering and sound arrangements which made the tape to which she danced sound muffled, taking away from the impact of experienced musicians singing compositions of late Madurai N.

“Rase Harimiha vilita vilasam” the Ashtapadi, presented as a solo by Madhyama Segal, portrayed Radha, lonely in her separation from Krishna, recapturing the old memories when she ecstatically danced with Hari. Preethi mentioned working closely with her teacher Sudharani while conceiving the sancharis for this line, and she has had Priya Murali a senior disciple of Sudharani as her mentor. The group rendition of Dashavatar, danced with great enthusiasm, had some neatly worked out group formations for each avatar – though Prashant Mangaraj’s vocal support flagged towards the last stages in sruti alignment and sur faithful singing. What was called Thai Naach, (which acquires the form of Batu in the Kelucharan school, of Sthai in Debaprasad school of Odissi and Thei ghara Nata in the Pankajcharan school) with all the stances and typical postures sculpted on Odissi temples, rendered by a multiplicity of dancers had group discipline, amidst individual differences.. And then there was the very talented violinist G. 

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