Music Sriram Parasuram and Anoorada Sriram enthralled audience with their jugalbandi.
Sica's annual music and dance fest turned out to be a season of duo/jugalbandi performances. Anoorada Sriram and Sriram Parasuram were the last in this trend. Despite a brilliant team, two disturbing factors seemed to have made a slight dent on the concert. Firstly, the acoustics were being handled so poorly that the audience raised a hue and cry at Anoorada not being as audible as her partner.
Then the opposite occurred with Sriram being less audible despite two exclusive mikes for him. Inspite of such creases , we got some gems out of the two, beginning with the varnam in Sahana. . We have a whole world of youngsters who just about shy away from Carnatic music since the grammar is beyond comprehension and no musician on stage chooses to explain even an iota of what's going on. With musicians like Anoorada and Sriram, we can expect more and more youngsters to foray into an auditiorium and turn listeners who can enjoy the music. Sriram's little briefing about a Carnatic raga and its equivalent in Hindustani prior to beginning a song/kriti just about laces their rendition. It is educative enough for us to experience and enjoy with the pride of basic knowledge; we knew what our Sahana raga was all about and the Hindustani Shahana Kanada And then they present a piece in the Hindustani style. The latter went like a little rivulet over pebbles creating tiny waves that sounded sweet and sonorous.
Himachala tanaya… in Anandabhairavi, Shyama Sastri's signature kriti was like a thing of beauty and a joy forever. The alternating neraval and swarakalpana at the refrain, Uma, hamsagamana taamasama ? was enriching. Anoorada seemed to be straining her voice to match the sruti of Sriram and this was not the case in their earlier recitals. They took up Bharatiyar's composition in Sumanesa Ranjani and its Hindustani counterpart, Madhukauns. Anoorada's alapana scaled the beauteous heights of the raga. We were happy to have Anoorada essaythe raga on her own. Ja ja re, ja ja in Madhukauns was sweeter than its Carnatic equal and the vocalists vested it with a dimension as they dwelt on , rithu vatha suhaani . Surendra Bharati's harmonium and the tabla by Harjeet Singh complemented the rendition. Anoorada's aakar taan was an expert's tryst with the raag's technical intricacies.
Marugela ra o Raghava in Jayantisri was a cakewalk for the duo. The Abhang set the tone for the concert to take to a bhajan mode that concluded the fest at Ravindra Bharathi.