Bhakti, beauty, and precision: Urmila Sathyanarayanan’s masterful recital captivates audience

The Kalasagaram annual festival on Tuesday at Keyes High School, Secunderabad, witnessed a power-packed Bharatanatyam program by renowned senior guru Urmila Sathyanarayanan and her disciples titled “Vaggeyakara Bharatham.” Urmila Sathyanarayanan is the recipient of the Kalaimamani, Sangeet Natak Akademi Puraskar, and the Nritya Kalanidhi awards. She is the student of Padmashri Dandayuthapani Pillai and K. J. Sarasa. Her school, “Natya Sankalpa,” has been featured in the Chennai Margazhi Season for the last 40 years. As usual with Kalasagaram, the evening program started punctually on time at half past 6 p.m.

The theme of the recital comprised items culled from the oeuvre of the legendary poet-composers steeped in bhakti. The aharya of the students was in cream and magenta shades which, under the lights, deepened to create a spectacular play of visual effects as they shifted in waves according to their distance from the light source while moving in serried ranks.

The “Ghana Panchaka Mallari”—an instrumental piece in five specific ragas prefacing Tyagaraja’s compositions, traditionally played during temple rituals and processions when the deity is carried in a palanquin or chariot during festivals—was radiantly explored by the large but compactly positioned group of students. They created elaborate patterns while dancing across the stage. A Ganesha keertana followed.

The padavarnam in Keeravani by Lalgudi Jayaraman was extensive but beguiling. Lord Shiva, as a mendicant, tests Parvati’s devotion—a prominent narrative found in the Shiva Purana. This composition served as a vehicle to showcase skill in expression, pure dance, and dramatization (abhinaya, nritta, and natya). Urmila was the mendicant, and Parvati was played by Sowjanya Suresh.

Shiva is briefly shown to accustom the audience to his change of guise. As Parvati enters with her attendants, the stage is set for the drama to follow. Sowjanya, in a pink costume, depicted the goddess preparing to do penance to achieve her goal of union with Shiva. After a group nritta sequence, the transformation of Shiva is suggested, and Urmila enters as the bent and stooped aged mendicant on his departure. The mendicant—played to perfection in every detail of his withered look and irritating demeanor—settles into a verbal duel with Parvati.

Sowjanya was convincing as she shaded her abhinaya from surprise to anger at the mendicant’s arrogant questioning. Shiva belittles himself as he condescendingly states that Parvati is mistaken in her choice by preferring a person adorning himself with a skull garland and ashes all over his body. Parvati is anguished to hear such disparagement. Finally, taking pity on her, Shiva reveals his true self, and with her face alight with joy, Parvati shyly places her hand in his for the culminating scene.

The lightly romantic javali “Sarasamulade Enduku” in Kapi was elegantly enunciated by a student. It deals with the unsuitability of the situation for a display of affection—the self-conscious nayika asks the nayaka to stop his behaviour.

The Purandara Dasa item “Mella Mellane” in Mohanam was colorful as Krishna plays pranks on the gopikas while deluding Yashoda that he is on his best behaviour. Sowjanya as Yashoda in abhinaya was outstanding as a protective mother shielding her child.

“Ananda Natana Prakasam,” elucidating picturesquely the glory of Lord Shiva with stirring nritta and other pieces, were solos by Urmila, giving the audience a rare chance to watch the maestro herself in her signature style of outstanding anga shuddhi, tala and laya control, and meticulously chiselled nritta of surpassing grace.

The Dharmapuri javali “Sakhi Prana” was a sensitively interpreted rendering, bringing out the poignancy of the nayika’s lament—her nayaka leaving her for another, despite promising to return but now forgetting her. The Tyagaraja kriti “Nidhi Chala Sukhama” was exquisitely lyrical. This solo by Urmila was a soul-searching and deeply philosophical piece, displaying Tyagaraja’s profound contempt for worldly goods as he refuses the royal invitation, since he sings for the Lord alone.

Do riches bring happiness, or is the worship of Rama the greatest source of joy? Tyagaraja soliloquizes, wishing himself to truly reply. Every subtle nuance stood out in grandeur.

“Vishweswara Darshan” of Swati Thirunal evoked the Ganges at Varanasi flowing from the matted locks of Lord Shiva and then washing his sublime and sacred feet. Kasi Viswanatha was the deity invoked with stunning effect by Urmila in all his majesty. As the arti was heard, the audience was virtually transported to the banks of the flowing holy river—such was Urmila’s mastery. Her first orange and later pink and green aharyas were charming.

The Narasimha Ashtakam of Vijayendra Tirtha was a treat of fiery and energetic reverberating syncopation; and the concluding thillana in Behag, performed by the students, pulsed with melodic beauty and intricate footwork showcasing technical mastery and artistic expression.

The live orchestra was a thrilling accompaniment throughout. Dr. Rajeswari Sainath was the Chief Guest for the occasion.