There was something for everybody at the concert.

Veni Vidi Vici. Priya Sisters came, they sang and they conquered. It was houseful – till the very end. Extra chairs had to be arranged for several rasikas. The siblings had something to offer to the musical tastes of all sections of the large audience. If the price of success is hard work, dedication and determination, they have an added element – namely, guru bhakthi.

The dynamism of their guru, the one and only TRS, manifested in their singing throughout the concert. The RTP was composed by him exclusively for them, a couple of days before his demise. It is a dwiraga pallavi - Vasantha in purvanga and Mohanam in uttaranga.

Haripriya took the lead in the alapana, alternating between Vasantha and Mohanam. Phrases in alternate ragas were fascinating. On the violin, M.A. Krishnaswami elucidated the two ragas deftly. Again, Haripriya started the Vasantha tanam, while Shanmughapriya followed in Mohanam. In tanam too, alternate phrases in both ragas were a captivating musical exercise. The pallavi was ‘Elleppudu Vasantha Rithuve, Mohana Krishnuni Dayayunte,’ in khandajathi triputa. Alternate combinations of swaras were pleasing. The concluding korvai was a brilliant formation that touched the crescendo. Their proficiency in raga and tala came to the fore in the trikala pallavi.

In the thani, Patri Satishkumar (mridangam) and Madipakkam Murali (ghatam) had ample scope to display their virtuosity. It was a breathtaking rhythmic treat with varying korvais in different gaits. While accompanying, Patri used more of gumki for the soft effect and in thani, his skill came out in full power.

A brilliant Purvikalyani alapana by Shanmughapriya – later joined by Haripriya - preceded Pattabhiramayya’s ‘Nimatale’ javali. Violinist Krishnaswamy’s sketch was in pure Parur style. Haripriya’s detailed alapana in Shankarabharanam lent charming glimpses of her creativity and craftsmanship. Syama Sastri’s ‘Sarojadalanetri’ created a meditative mood. Niraval and swarams were at ‘Korivachina.’

Earlier, the sisters commenced their concert with the rare Nayaki varnam, ‘Sarasijaksha’. ‘Nigama Veda Vedyam’ in Hamsadhwani followed. It is a composition of their Guru TRS. They dedicated it to him. The kalpanaswaras too carried his stamp. In ‘Sogaasuga Mridanga Talamu’ (Sriranjani – Tyagaraja), swaras were at ‘Navarasayuta’ – again in typical TRS style.

Kotiswara Iyer’s Kokilapriya composition, ‘Sukhavazhvadainthuyya’ stood out in all its grandeur. They wound up their majestic recital with ‘Malaimeethu vazhum’ of S. Bharathi Ganesh in Misra Sivaranjani and the Annaamacharya Krithi, ‘Ni Dasyamokate’.

It was, on the whole, a very well spent three hours indeed!