Ranjani and Gayatri’s concert for Krishna Gana Sabha had measured tones of artistry and liveliness. Importantly, they also sought to reach out to diverse audiences.
‘Ongi ulagalanda’ in Arabhi (Andal pasuram) was a breezy opener that moved into a more reflective mood with a pleasant rendition of Sudha Dhanyasi. Neither the raga nor the kriti, ‘Azhaga azhaga azhaga endru’ (Ambujam Krishna, Khanda Chapu) is usually sung in the opening segment of a concert. The kriti was rendered in a kalapramana that fortified the emotions, especially in the pallavi.
Muthuswami Dikshitar’s ‘Chetasri balakrishnam’ in Dwijavanti was almost like a lesson, with clear sangathis and lyrical enunciation. The sisters respect the patanthara of kritis, and this was evident throughout the concert.
The elaborate Kalyani alapana, in two parts, was beautiful (including the Mohana bhedam). Perhaps, a bit of time was lost in excessive detailing. Violinist M. Rajeev developed his alapana astutely. Tyagaraja’s masterpieces in Kalyani are too many to list — ‘Sundari nee’ is a grand composition, and Ranjani and Gayatri’s niraval at ‘Manda gaman neethu’ set in an amazing upper octave formation (S n R, S G R, M G R) by the composer, was one of the highlights. They showed that Manodharma is more natural if it exploits the innate beauty in compositions. The trio’s swara korvais were predictably lapped up by the audience. ‘Kanna tandri naapai’ in Deva manohari was the quick-fire separator of the concert’s two halves.
Ranjani and Gayathri’s alapana in raga Lalitha was packed with impactful phrases.
| Photo Credit:
SRINATH M
Lalitha is a raga high on emotion, and it has some poignant kritis by Dikshitar and Syama Sastri. The alapana for the RTP, therefore, packed in crisp but impactful phrases, with the occasional Hindustani melancholy.
‘Sangita vadya vinodini sada bhajami lalitha’ is a twist from the famous kriti by Dikshitar — ‘Hiranmayeem’. The pallavi set in Khanda Jampai was consumed by the ragamalika and parallel raga singing by Gayatri with Amirthavarshini as the base scale. To sing two or three raga swaras without any transition is a great skill and comes with a lot of practice.
‘Kakkai siraginile’ in Brindavana Saranga, appended with Krishna songs in Kannada and Marathi in the same raga, made for a perfect finale. The sisters’ concerts, with never a dull moment, offer lessons in planning and teamwork.
Mrindangist Manoj Siva revelled in the varied tala and kalapramana fare offered. K.V. Gopalakrishnan on the kanjira was feisty in his accompaniment, playing interesting nadais in the thani.
