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well focussed: Bhairavi and Malavi.
well focussed: Bhairavi and Malavi.

G. SWAMINATHAN

The compositions, rendered by Bhairavi and Malavi, in varying pace and rhythm added lustre to the concert.

With almost identical voices, sisters Bhairavi and Malavi articulated a focussed approach to provide quality fare in their vocal concert for Nada Inbam at Raga Sudha Hall.

Bhairavi’s Purvikalyani essay undulated with rich karvais to ponder and vibrant brigas towards the end to bring the expansion to conclusion. There were mild catches in touching the upper region notes but that was overpowered by Bhairavi’s internalised development of the raga. The choice of Syama Sastri’s ‘Ninnuvina Gamari’ added value to the interpretation with another surge of emotional treatise and notes on the line ‘Na Chinta Theerchi Vegame Brochutaku.’

Mukhari vinyasa was started well by Malavi and the middle and closing parts were once again handled by Bhairavi. Tyagaraja’s high pitched ‘Karu Baru’ further widened the intensity of the raga bhava.

The niraval and swaras at ‘Saadu Tyagaraja Vinutha Rama’ were kept at the desired level. Kalpanaswaras and their length matter a lot in the present day concerts.

Crisp swara passages

Unless the artists show a penchant for stretched out swaraprasthara, especially when a duo performs, it is considered a rather dull affair. But Bhairavi and Malavi have to be appreciated for not leading their exchanges to exasperating levels and maintaining a dignified posture. The kuraippu swaras centering on panchamam in Purvikalyani also moved smoothly and concluded on delectable speed with structural cohesion.

Various composers figured in the concert such as ‘Sarasijakshi,’ a finely composed Nayaki varnam in Kanda Triputa (Rudrapatnam Venkatramayya), ‘Teliyaleru Rama’ in Dhenuka, ‘Smarane Sukhamu’ in Janaranjani (both by Tyagaraja), ‘Cheta Sri Balakrishnam’ in Dwijavanti (Muthuswami Dikshitar), ‘Nimma Bhakya’ in Atana (Purandaradasa) and ‘Kadaikkan Paarvai’ in Khamas (Papanasam Sivan) in varying pace and rhythm added lustre to the concert.

M.S. Ananthakrishnan played the violin with full enthusiasm. His Purvikalyani alapana stood out for its imaginative and in depth presentation and his swara sallies with the sisters carried verve. Mannarkoil Balaji on the mridangam delivered firm rhythmic designs.

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