Arun Excello’s ninth annual concerts series, ‘Navaratri Nada Vaibhavam,’ featured two popular pairs of siblings in the Carnatic music circuit — Malladi Brothers and Ranjani-Gayatri — at The Music Academy.
Malladi Brothers performing at the Navaratri Nadha Vaibhavam at the Music Academy, Chennai
The concert of the Malladi Brothers was a display of classicism with their focus on piety and melody imbued with the right measure of expertise. A few catchy phrases of Mohanam at the outset led to ‘Rama ninnu nammina (Tyagaraja). A soulful rendition of a sloka on Goddess Tulasi in the raga Saveri was segued to ‘Tulasi Jagajjanani’ (Tyagaraja). The swarakalpana for this kriti carried ample zest. Ravi Kumar explored Anandabhairavi, highlighting the splendour of the raga. Complimenting this wonderful preface, the duo selected ‘O Jagadamba’ (Syama Sastri). The niraval added lustre with swara kalpana on the line ‘Kanna talli’.
After Dikshitar’s ‘Sivakameswarim’ in Kalyani, the singers moved on to the reposeful viruttam ‘Srividyam sivavamabaga nilayaam’ from ‘Meenakshi Pancharatnam’ in Keeravani and linked it to ‘Devi neeye thunai’ (Papanasam Sivan). Todi was their choice for the major exploration that was exhaustive and significant. The mandra and madhyama kala sections were effectively handled by Sreeram Prasad. In the alapana their exchanges of tara sthayee sancharas were remarkable. ‘Enduku dayaradura’ (Tyagaraja) was a brisk offering here; the mandatory niraval and swaras on ‘Tyagaraja vinuta’ and the swara sally with shadjam as the focal note showed elegance. Rarely heard ‘Sringaralahari’ in Neelambari by Lingaraaj Urs was, indeed, a delectable bonus.
V. Sanjeev on the violin was a perfect match to the brothers in all their challenging raga alapanas and swaras even while adding ingenuity in raga essays and swara packages. Tumukuru B Ravishankar on the mridangam and Alathur Rajganesh on the ganjira played to suit the mood and tenor of the concert.
Sisters create magic
The packed auditorium proved the stardom of the Ra-Ga Sisters, who never disappoint their audience. The concert presented by Ranjani-Gayatri did not have a single dull moment and left the music lovers asking for more. One of the reasons for their success is the astuteness with which they plan and present their concerts.
Harikesanallur Muthiah Bhagavathar’s lilting ‘Mathe Malayadhwaja’, the popular Daru in Khamas, provided a bright start. The sober Saramati composition ‘Arula vendum Thaye’ of M.M. Dandapani Desikar came next. Poorvikalyani was detailed by Ranjani with aplomb to usher in ‘Paraloka sadaname’ (Tyagaraja). Energetic kalpanaswaras, mainly handled by Ranjani, enlivened the atmosphere. A magnificent Thodi treatise by Gayatri was replete with soulful karvais and brilliant akaras in perfect proportion. Gayatri’s upper region sancharas, in particular, were exquisite. The Kamalamba Navavaranam, ‘Kamalambika ashrita,’ was a wise selection. The exhaustive niraval and swaras at ‘Sakale Guruguha Charane’ turned out to be a fantastic journey; the dynamic swara exchanges centred on shadjam reached a crescendo triggering a thunderous ovation.
Notable inclusions were ‘Maravairi ramani’ in Nasikabooshani (Tyagaraja), ‘Naan oru vilayaatu bommaya’ in Navarasakannada (Sivan) and the concluding Sant Eknath’s Marathi Abhang in Brindavani.
Violinist Charumati Raghuraman exhibited extraordinary control over the strings and the swara ripostes underlined the young artiste’s skill. N Manoj Siva on the mridangam and S. Krishna on the ghatam not only provided able support to the siblings but created some electrifying moments in their brief, yet effective thani avartanam.
