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By DANCE/MUSIC - Payel Sengupta
  • Published 28.09.13

The programme of tabla lehra by Rajkumar Misra and a kathak recital by Trina Roy held at Gyan Manch gave the audience the essence of the Jaipur gharana. It also brought back memories of Pandit Jailal Misra and Pandit Ramgopal Misra. Rajkumar Misra, son of Ramgopal Misra, presented tabla lehra based on teentaal, comprising peshkar, kaida, peshkarang kaida, teesrajati kaida and the like, with spontaneous ease. His style is powerful. But he needs more confidence as a solo performer. He also played rela, gatang kaida, gat, different types of parans, including chakradhar paran and tukras. Misra mostly highlighted the specialities of the Jaipur gharana, adding some rare touches of Delhi to it. He was accompanied by Hiranmoy Mitra on harmonium.

The tabla lehra was followed by a kathak performance by Trina Roy (picture), who carries the same family heritage as that of Rajkumar Misra. The grand daughter of Ramgopal Misra and Susmita Misra, and daughter of the senior kathak performer, Kajal Misra, Trina commenced her performance with guru vandana and Shiv vandana. She was graceful and expressive on stage, but her Shiv vandana needed more energy. However, she soon she captured the mood in her main presentation on teentaal. Starting from the thaat, followed by amod, tukras, toras and parans, she attracted the audience with her simple and charming movements, which showed her natural spark. Her presentation of some rare and offbeat toras, parmelus, parans and chakradhar parans created by Jailal Misra gave the audience an idea of her rich family background. Her various tihais and tatkars were captivating and powerful. But she needs slight improvement in the bhav portion.

Roy presented gagri ka gat and nao ka gat and tried her best to portray the nuances. She concluded with an alluring performance of a bandish on Raga Megh, “Gagan garaje”, and left the audience with mixed feelings. The perfect accompaniment by Rajkumar Misra and Salil Banerjee on tabla, Chandrachur Bhattacharya on sitar and the vocal recital by Gautam Dutta made her performance gorgeous.

Elomelo Rabindranath was a compilation of Rabindrasangeets of different genres (most of the songs were chosen from Puja, Prem, Bichitra, Prakriti, as well as from Tagore’s dramas). Manoj Murali Nair’s solo performance at Rabindra Sadan was not at all elomelo (haphazard) — rather, it was compact and well-organized. Nair started beautifully with “Jini sakal kajer kaji”. In songs like “Jete jete ekla pathe”, “Ami hethay thaki sudhu”, “Nishitho rater pran”, and others, his voice came into its full bloom. He surprised his listeners with a dramatic pause and unique arrangement of “Birasa din birala kaj” and “Matir buker majhe bandi je jol”. He made the programme wonderful by singing “O chand chokher jaler” and “Majhe majhe taba dekha pai”.