A night at the opera

Soprano Patricia Rozario, tenor Alistair Digges and baritone Dhilan Gnanadurai perform in Goa

Nigel Britto

Donizetti, Rossini, Cimarosa. Sicilian mafia dons? Not quite. In fact, they’re legendary Italian composers whose works featured in the concert "An Operatic experience" on Saturday night at Kala Academy. The performance was the last stop of British soprano Patricia Rozario’s tour of India. And it was phenomenal. 

After having performed similar shows in Delhi, Pune and Mumbai, the much-awaited recital got off to a rousing start with tenor Alistair Digges tackling the aria "Where ‘er you walk", from Handel’s 1744 oratorio Semele. As Jupiter, the 27-year-old defied his rather lean physique to create a perfect intonation that resounded through the DMK auditorium. A thunderous applause then greeted Rozario, Goa's most famous classical music exponent, who walked out on the stage to perform the famous aria "Endless pleasure, endless love", also from Semele. Accompanied by Mark Troop, her interpretation was masterful and hypnotic.

Few classical concerts are complete without Mozart. "The Magic Flute", which was composed to a libretto by Schikaneder, featured baritone Dhilan Gnanadurai playing the role of Papageno, a bird-man flute-player who wondered when he'd catch his bird-woman, Papagena (Rozario). The last aria of the opera was the very humorous duet pa, pa, pa, which brought smiles and a lot of enthusiastic clapping, especially from the children.

The evening also featured the Italian romantic composer Giuseppe Verdi, who's generally regarded one of the greatest opera composers alongside Giacomo Puccini. In Rigoletto, baritone Gnanadurai matched Rozario almost note-for-note in a duet, displaying tremendous power and technical ability in doing so. The award-winning Sri Lankan musician, who holds diplomas in three different disciplines (voice, piano, violin), was a crowd favourite. Popular aria Caro nome, which came next, brought out Rozario's full range and virtuosistic breath-control, which left the audience begging for more.

The second half was an Italian invasion. In Cimarosa's Matrimonio Segreto, Digges and Rozario played two lovers (Paolino and Carolina) whose clandestine meetings got interrupted when people unexpectedly turned up at them. Predictably, the unusual story brought smiles. It was followed by five consecutive works of Gaetano Donizetti, including his most famous and recognizable work, Una furtive lagrima.

Though Rozario was undoubtedly the centre of attraction, it was the supporting artistes who impressed many. Digges and Gnanadurai, both of whom are in their 20s, appeared well up to their challenging task and took on their formidable roles with panache. Digges, especially, who idolizes Pavarotti, displayed tremendous maturity in the varying roles he played, from torn lover (Handel's Semele) to a hero who desires an abducted slave-girl (Ambroise Thomas' Elle ne croyait pas, from his opera comique Mignon).

The last piece was Gioachino Rossini's La Danza, which featured all the three singers at the heights of their vocal power. The song expectedly ended with a long standing ovation that forced all the performers back for an encore. This time, it was a song from the popular musical West Side Story.

August was a month of classical concerts in Goa. And many believed the best was saved for last. Musicians and others alike were left "dumbfounded". "It was Fantastic!", said Savio Martires, a prominent jazz musician, adding "this is probably the first time Goa has seen something of this calibre". Builder Philip Braganza agreed. "I've never heard anyone sing this well, ever", he said. Many shared their views.

But as much as the concert was described as "phenomenal" by a majority of those who attended it, all was not rosy. The persistent and unpredictable rains partially affected attendance. And despite strict instructions to the contrary, mobile phones rang and cameras clicked.

Also, several people in the fraternity were peeved by the "only 3/4ths full" hall, while others saw it as a sign of hope. Luis Dias, a doctor and violinist, is one of the hopeful ones. "It would be great to see a packed auditorium to watch a daughter of the soil who is an internationally acclaimed opera star", he said. Unfortunately, it didn’t happen on Saturday. May be next time. Until then, as they say in Italian, arrivederci.

This review was first published in the Sunday Times of India, Goa, on the edition dated August 30, 2009.

Sanya Cotta's musical fairytale

Goa's Germany-based prodigy violinist Sanya Cotta enthralls her home crowd

Nigel Britto

If Finnish composer Jean Silbelius was at Kala Academy on Wednesday evening, he would have been a happy man. Sanya Myla Cotta saw to that, and showed exactly why he's so rarely heard. The reason? Not everybody can pull his music off. The eagerly-awaited concert by Cotta and Romanian pianist Delia Varga left the full-house, as one young fan put it, "reluctant to go back home". Obviously, they did not disappoint.

The much-awaited performance, which started with Mozart and Bach, got progressively more electrifying as the Goan prodigy went on to tackle rarer names like Kreisler and Sibelius, whose compositions ranged from gypsy to bohemian and staccato, accentuated by extremely technical passages. Her renditions of Violin concerto in D minor and Allegro moderato by Sibelius strengthened her already close rapport with her audience, and firmly propelled her into a league few Indian musicians of her age have reached. A testimony of both agility and stamina, a young Goan violin student later likened her performance of those pieces to that of "a hungry cheetah on steroids".

If Sibelius proved her mastery of technique, Ziguener-Capriccio by Kreisler displayed her prowess as a performer. The sudden transformation of the melody, which was sometimes quick in spasms and sometimes loaded with mystique, was handled impressively with obvious ease and a composed lyricism.

At the end of it all, a thousand appreciative fans demanded an encore.

She obliged, adding the mando "Adues Korcho Vello" to her formidable repertoire, for which she teamed up with younger brother Dane, an 18-year-old piano diploma-holder. "It felt great", the violinist exclaimed later. The 23-year-old is a Fellow of London’s Trinity College of Music and has recently joined the prestigious German Youth Orchestra. Pianist Delia Varga is from Romania, in India as a teacher at Mumbai’s Mehli Mehta foundation.

Sanya’s father and mentor Schubert Cotta, a prominent classical guitarist and teacher, organized the concert as part of his newly-launched Opus Gala project, which believes that "music is the heartbeat of Goa". He was thrilled at the response the concert attracted. "We’re here to raise the bar", he says. "And the fact that we had a full house speaks a lot". Sanya Cotta, too, agreed. "There is an obvious increase in interest in western classical music and it's very good to know", she said.

In fact, Goa has had an unusually high number of classical concerts in August, which have won the genre a lot of new fans. The Goa State Symphonic Orchestra under the baton of Pheroze Mistry played to full houses in four locations earlier this month. And yesterday’s recital was not the end of it. Come Saturday, and Goa-born British soprano Patricia Rozario will conclude her India tour with a recital at Kala Academy.

This review was published in the Times of India, Goa, on its edition dated August 27, 2009.

Coming To A Screen Near You: Diary Of A Nobody

Meenakshi Kumar and Nigel Britto

Zulekha Sayyed is no celebrity. But at a recently concluded workshop on citizen journalism in Goa, the 22-year-old Mumbai slumdweller was feted like a star. Small wonder because Sayyed is one of the most recognizable faces of the community video revolution that is changing lives of ordinary people across the country. Rickshawpullers, farm labourers and diamond polishers are among the 100, almost-trained video producers who were part of the five-day workshop.

The extraordinary experiment is a sociological revolution of sorts. By capturing the myriad problems of their humble lives on camera, these largely unlettered people are almost writing a diary. And the diary of a nobody arguably promotes self-awareness , the first stage of self-development . The basic idea is that people have the right to speak, rather than be spoken for.

It is the Indian manifestation of a timeworn trend. In 1892, The Diary of a Nobody was published in England. A lower middle-class clerk was the main protagonist and he defended his right to write a diary.

Similarly, the 100 or so Indian video producers are telling their stories, through the camera today. Video Vounteers (VV), the non-governmental organization involved in their training, says the batch has been doing this since 2006. The experiment is the brainchild of New Yorker Jessica Mayberry, a former television journalist, who divides her time between the US and India. But the idea has been taken forward by VV in concert with Gujarat-based human rights NGO, Drishti. From six community video units (CVUs) three years ago to 13 today, 50 producers originally to more than a 100 across Gujarat, Andhra Pradesh , Maharashtra and Rajasthan, VV has changed many lives. Mayberry says, “It’s amazing to see the change. When I started training some of them, they were shy, inhibited . Today, they are confident young men and women, who can challenge the corrupt system.”

VV is not the only community media group in the country. In Bihar’s remote Ramlila Gachi village , women with handycams on bicycles have become a common sight. Aapaan Samachar, an allwomen community news network launched in 2007, uses women power to focus on local issues, such as lack of electricity and water . The women shoot, edit and even anchor the films, which are broadcast on local television.

A similar story has been playing out for nearly a decade in the hinterland of Andhra Pradesh. A group of poor Dalit women has been trained by a grassroots NGO, the Deccan Development Society (DDS), to make films on subjects close to their hearts — water scarcity , food problems, lack of roads etc. They’ve made films such as Why Are Warangal Farmers Angry with Bt Cotton; Water, Life and Livelihoods and Ten Women and a Camera. Two years ago, their films made history of a sort when they were included in the retrospective section of Mumbai’s International Film Festival.

This raises a pertinent question : Do these CVUs really make a difference and act as an agent of change? Yes, says P V Satheesh, a founder-member of DDS, who was responsible for training the women filmmakers. “The mainstream media will be truly democratic once the marginalized are able to contribute to discussion of various issues. That’s when the real social changes will be noticeable, somewhat like the RTI.”

Mayberry says these videos play a significant role in grassroots development. “It’s important to get people to communicate and CVUs help in that. They encourage community based communication , which is important for development and social change,” she says.

And then there is the blossoming of the individual. Rajeshwari, a 22-year-old tribal from a remote Andhra Pradesh hamlet, is part of the CVU, Manyam Prajya. Today, she is a well-known known face in 34 villages. “Not too long ago, nobody knew me,” she says. “Today, people from higher castes tell their daughters, ‘You should become like Laxmi’s daughter’ .” For Jitendra Makhwan, 26, a Dalit who spent his childhood polishing gems in Bhavnagar, the camera has helped to break age-old caste barriers. For the first time, he was allowed inside a temple, thanks to his camera.

It’s stories like these that convince Mayberry and others like her that they are on the right track.

This article was first published in The Sunday Times of India on its edition dated August 16, 2009.