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Passion
of percussion It is but rarely that any audience ( even in Japan) would have the opportunity to view such a spectacular presentation, for Yamato counts as one of the finest among performers of international stature. Since their founding in 1993, they have played all over Europe, and to the highest critical acclaim in China, Indonesia, Israel, South America, and also had an outstanding reception in Edinburgh, at the famous "Fringe Festival" in 1998, when they played for 23 sold-out nights. The present tour was of Asia, under the banner "Spirit Tour-Asia 2002", and was brought to Colombo, through the good offices of the Embassy of Japan. The discipline and physical regimen of the Samurai, the sense of colour and raw energy of modern ballet with the ultra-theatrical melodrama of the medieval Noh, the primeval vitality of the traditional Taiko drums, and even a bit of the buffo aspects of kabuki surfaced and coalesced to enrapture an audience that little knew what to expect! The drums ranged in scope and sound from the small fan- shaped, hand-held Uchiwa-Daiko (Sri Lankans likely have seen the Mahayana Monks beating one of these, chanting as they walk along the streets ) to the awesome Odaiko, with a diameter of five-and-a-half feet which stood either on special wooden trusses and rose about eight feet in the air, or were placed flat on the ground and were addressed with a mallet which approximated a pestle used for pounding raw rice. All of the instruments were traditional, in the sense that they have been part of the rituals from many centuries past, but, are currently being used in a decidedly modern experiment - a thoroughly arduously physical expression of the spiritual core of the people of Nara, Japan. The players themselves, five girls and five boys including their founder and principal inspiration, Masa Ogawa, all hail from that centre, and the name that Ogawa has given the group carries the stamp of self-identity, for, Yamato is in fact the early name used for modern-day Nara. (Not unlike "Kandyan" dance which is self-explanatory as well as generic in cultural terms ) The rhythms and the beats were combinations that can only be described as "Pan-Afro-Eurasian" in range- one could just as well connect with the Brazilian bhaila beat as one could with the stricter martial diddy-boms, and perhaps even the poly-rhythms of the Ashante or Watutsi, while being visited by the sonorous and languorous "Bo-iiing" of the awesome Odaiko of traditional Japan. It was not so much the racing of the pulse achieved by the drums, as the choreography that enthralled; the skilful showmanship, the give and take, the call and response on the part of the ensemble that shone through as a masterpiece of presentation. As an additional point of interest, Sri Lankans were also afforded the opportunity to hear and see some non-percussion instruments too, played with a touch of the traditional Orient, in a vital mix with contemporary idioms- the shamisen ( with three strings and akin to a lute) and the gorgeous Koto ( harp with silken strings). These too contributed to the alluring chiaroscuro the evening provided- there was never a dull moment, and nary a sense of time's passage. As an adjunct to the wonders of the actual drumming, an inescapable factor was the stagecraft. It was very much a team effort among the players, as well as the ancillary services of the sound and lighting directors. The finale, on both nights, added a nice touch, when the Ravibandu Vidhyapathi Drum Ensemble was invited as guests on-stage with Yamato for a free-spirited dialogue of drums involving the Geta, Yak, Dhaula and Thammattama in the company of the Taiko, which brought the entire house to its feet. Classical
and light treat from Preshanthi Preshanthi better known as Preshi, has been in England for the past 13 years, but has never failed to perform here during her visits the last time being in 1999. Together with Ronald Samm, an accomplished classical singer from the West Indies, who is also based in London, she has put together an impressive arrangement of classical and light music for the enjoyment of Colombo audiences. The first half of the show will feature vocal music by composers such as Mozart, Puccini and Verdi. Neopolitan songs, the lighter and catchy Italian tunes, set the tone for the second half of the programme. Gershwin's "Blah Blah Blah" that makes fun of love songs in films adds that touch of humour. The German love song 'Dein ist mien ganzes herz' translated 'You are my Heart's Delight' and other songs from the very popular opera 'Porgy and Bess' will figure during the show that will conclude with 'A Song to Remember' by Franz Schubert. Preshi's love for singing was nurtured in her school days when she was a member of the Merry-An Singers. Soon after her graduation she was given an unconditional place at the Guildhall School of Music and Drama that led her to the Academy Drama School to study theatre and television acting and other aspects of putting together theatre shows. Besides performing there, she choreographed Euripides' 'Electra' in Sri Lankan dance. Since receiving her honours degree at the Goldsmith College, University of London, she has sung in several prestigious opera shows and also performed the soprano solo in Beethoven's Ninth Symphony with the Richmond Symphony Orchestra conducted by Howard James. Preshanthi also spends considerable time teaching classical singing to a mixed group of adults and children where she concentrates on voice training and the techniques of singing. Having trained at Trinidad, his place of birth where he has won numerous trophies in the island-wide music festivals, Ronald Samm went on to the Guildhall School of Music and Drama in London, followed by post-graduate study at the Royal Northern College of Music. He was then accepted as a trainee at the National Opera Studio in London. Throughout this period he participated in several shows at London's West End, British Youth Opera and other Festival Theatres/Operas. |
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