When a pair of vocalists sing together, the music is more vigorous and ambitious in scope. Living up to their reputation, the Chinmaya Sisters succeeded in creating new horizons by providing attractive mood colours to compositions.
The understanding between them was total. Simhendramadhyamam and Madhyamavati were the main ragas they handled. In the former, Uma offered an expansive and brilliant alapana, in which she successfully attempted a gruhabhedam by showing elegant glimpses of Bowli, anchored on the tarasthayi Rishabham.
Usha Rajagopalan (violin), who has carved a niche for herself, presented a wide-ranging elucidation. ‘Ninne Nammithi’ of Mysore Vasudevachar was the chosen kriti. Niraval and swaras were at the usual ‘Pannagendra Sayana.’
While sharp and fascinating laya sequences in kalpanaswaras were the highlight, the whole effect was heightened by the seasoned percussionist, Mannarkoil Balaji. He, along with Nerkunam Sankar (ganjira), offered a bright thani in misra chapu. Their tisra nadai deserves special mention.
In Madhyamavati, it was Radhika who offered an imaginative and inspired alapana preceding Poochi Srinivasa Iyengar’s ‘Parthasarathi Nannu’ (Rupakam). There was a healthy competition between them in the niraval and in the swaraprasthara at ‘Sarvadharma,’ making it even more exhilarating for the rasikas.
The duo commenced their concert with a spirited rendering of Swati Tirunal’s ‘Seve Srikantham’ (Mohanakalyani), followed by ‘Karunanidhiye Thaye’ (Bowli) in misra chapu. The perfect sruti alignment in the anupallavi, ‘Arunodhayam Kandal’ created a blissful impact. Tyagaraja’s ‘Nenarunchinanu’ (Malavi) was a neat presentation with its elegant chittaiswaram.
They concluded their vigorous concert with Kanaka Dasa’s ‘Baro Krishnayya’ and the Revathi tillana.
( Aside : The peak-hour traffic slightly delayed the sisters’s arrival for their recital. Due to the congestion around the venue, they had to park their self-driven vehicle at a distance from the auditorium, which made them leave the tambura in the car. Without the instrument, the tambura artist, who was there on time, had to go home. Of course, the electronic sruti box served the purpose. )
Published - January 01, 2015 06:35 pm IST
