'Mathrubhumi', an evening of music, organised by Lakshmi-Saraswathi's Event Arts was novel more for the combination rather than the concept. The show featured two artists with remarkable mass appeal -- Aruna Sairam and Shankar Mahadevan – who had the large audience glued to their seats for more than two hours at the Music Academy.
After her recent tryst with the mild mandolin, Madam Might met Mr Right in Shankar Mahadevan, whose booming voice could scale very high notes.
Aruna and medleys are synonymous. Here too, she conceived a heady mix of classical, semi-classical, light and folksy numbers from different parts of India. “The idea was developed from Bharatiyar songs,” said Lakshmi and Saraswati.
After the duo sought the blessings of Lord Ganesa with the ragamalika ‘Vakrathunda Mahakaya', Aruna sang Thiruvasagam ‘Namashivaya Vazhga' in Abogi and ended with ‘Sabapathikku Vaeru Deivam'. All the songs were offered jointly and in alternating modes. A well rehearsed presentation, the proof came in the vibrant ‘Eppo Varuvaro' (Jhonpuri) and its cascading sangatis rendered by both in perfect unison.
The scenario moved to Sind where a traditional Gurbani ‘Takar Tum Saranayi Aaya' was presented with gusto by the duo to the accompaniments of harmonium, tabla, flute, guitar and dholak. ‘
Vaishnava Janatho' was followed by another Gandhiji favourite, ‘Raghupathi Raghava'. The Narsi Mehta song was presented in a different genre as Aruna referred to it as an authentic Sowrashtra version she had once heard. The high notes of ‘Moha Maya Vyaaye' were initiated by Shankar in his robust voice.
Subtle twists
The choice then moved to ‘Sundara Telugu' and a Tyagaraja composition. Hindolam was projected separately by Aruna and Shankar. ‘Samaja Vara Gamana' offered swara sallies and propelled towards a well practised dramatic kuraippu swaras.
In Purandaradasa's ‘Bhagyada Lakshmi Baramma,' one caught flashes of the popular version by Pandit Bhimsen Joshi.
From Karnataka, the musical journey shifted to Varanasi. A brilliant thumri of Bade Ghulam Ali Khan, ‘Baras Na Laage' came with many subtle twists and extensions.
A pulsating Rajasthani folk number ‘Banna Re' saw the audience clapping along with the rhythm. Aruna's ‘Maadu Meikkum Kanna' was shared by the singers as doting Yashoda and mischievous Krishna.
Then it was another Sairam's inimitable Oothukadu favourite the Kalinga Narthana Thillana in Nattai. This rhythmic and pacy number with tongue twisting lyric and mnemonics was amazingly sung by Mahadevan matching Aruna's time tested proficiency. The finale? A trip to Maharashtra and Bandarpur, an abhang and Aruna's electrifying exposition with Shankar.
The supporting orchestra had J. Vaidyanathan on the mridangam, S.V. Ramani on the ghatam, Raghavendra Rao on the violin and a host of other artists.
The stage was stylishly done up. The most fascinating aspect of this programme was its dynamic diversity all through; well, Aruna and Shankar simply rocked!
