Calcutta Sisters Chitra and Kala’s concert opened quite intensely. ‘Sami Ninne,’ the Sriraga varnam was sung with gusto by them. There is always an advantage in a duet because if the synchronisation is perfect, it automatically sounds energetic.
With the spirit with which they began, the sisters moved on to GNB’s composition ‘Vara Vallaba Ramana’ in Hamsadhwani. A few rounds of dazzling swaras raised the bar of their concert.
When one of the sisters with a stronger vocal ability started on the elaboration of Purvikalyani, the concert’s mood was set. The glides and sweeps created a nice image of the raga and Melakkaveri Thiagarajan’s inputs were received well.The kriti ‘Meenakshi Memudam’ was rendered with great reverence. However, on the niraval, at ‘Meenalochani Pasamochani,’ some problems surfaced. The perceptible shift in srutis and disengagements of swarasthanams crept in. The swara section rendered by one of them turned unfortunately into a wild stroll in keezh kalam notes just spilling endlessly without a break. Further to one’s dismay, the sibling continued this and suddenly shifted the gear to melkalam and marched towards a confused korvai and concluded.
The opening phrase of Mohanam was slightly ambiguous. However, it was delineated with great diligence. But, owing to a weak command of voice and uneven progression, it failed to create any impression. The siblings opted for a tanam and pallavi set in khanda triputa. Kalakkad Srinivasan provided adequate support but could not bolster up the wilting tempo and quality of the concert. Thiagarajan had done his part sincerely in the raga essays on the violin.
