Finally! The Akkarai sisters, S. Subhalakshmi and S. Sornalatha, have truly arrived as a singing duo. Their concert at the Sivagami Pethachi auditorium was one in which the ‘aha’ moments reaffirmed promise borne to fruition – promise that had been amply in evidence at the very start of the siblings’ two-decade musical journey that witnessed their evolution as sought-after violinists and committed vocalists.
Voices in fine fettle, the duo warmed up with Tiruvottriyur Tyagaiyyar’s varnam ‘Karunimpa’ (Sahana) the charanam sliding into a brisk trot. A delicately nuanced Vasantha sketch led to ‘Seethamma Mayamma’ (Tyagaraja) studded with bhava-rich sangathis.
With the percussionists being completely in sync with the kriti, right down to the sharp sollu signalling the ‘odukkal’ at ‘Vasishta Parasara,’ the chittaswaram registered with added punch. In the niraval at ‘Vaathathmaja,’ Sornalatha’s more conventional excursions were a perfect foil to Subhalakshmi’s creative flights at the nishadha, with unfettered sarvalaghu finding essence in kalpanaswara.
Scripted with passion by Sornalatha who lavished care on intricate detailing, an esoteric Jyoti Swarupini essay surfaced.
Insightful madhyamakala sancharas that pledged fidelity to grammar and raga bhava rendezvoused at the nishadha to flesh out the madhya sthayi, from where the gandhara reaching to the tara sthayi gandhara was the vocalist’s playing field. Deep-dipping jarus complemented the alchemy of alternating adventurous and soothing prayogas. Sornalatha’s own composition ‘Nannubrovu Kamakshi ’ afforded ample scope for poruttam-studded swarakalpana.
The moving interpretation of the Thevaram ‘Kaadhalaagi Kasindhu’ in viruttam form, by Subhalakshmi, unfolded the beauty of Mukhari. A meditative ‘Endraikku Siva Kripai Varumo’ (Neelakanta Sivan) resonated deeply within the rasika. It was a rendition whose fragrance lingered in the lulling sway of the sahitya bhava.
The evergreen appeal of ‘Brova Barama’ (Bahudari, Tyagaraja) with well-crafted sangathis and vibrant chittaswaram spritzed freshness.
Taking centre stage was the main piece in Thodi. Through an alapana that spelt class, Subhalakshmi built an imposing raga edifice. Her gamakas and anuswaras burnished by cumulative experience, the artiste sculpted passages anchored at the panchama and a dhaivata-nishadha suite that sparkled with subtle highlights. Wedded to the tara sthayi shadja, voice spun nagaswaram-style filaments, brigas at the rishabha and beyond.
What stood out was the homogeneity of concepts, the artiste at no point losing sight of the central focus of each cluster. The alapana struck both for its organic development and attention to detail.
While ‘Koluva Maregada’ (Tyagaraja) glittered in a kalapramana that was just right, the niraval and kizhkala swaram redolent with bhava, pulled you into the raga vortex. Melkala kuraippu at the shadja generated pace and excitement.
Violinist B.U. Ganesh Prasad, in excellent form, complemented the siblings’ vision with insightful alapanas and swara passages, strengthening the Thodi structure.
Linked by a palpable thread of empathy to the vocalists, K. Sai Giridhar (mridangam) played with infectious enthusiasm, his sollus peppered with many a ‘sabhash’ in appreciation of the vocalists’ prowess. In tandem with S. Karthick’s sallies on the ghatam, the thani was a happening segment, well-matched in control and power.
The sisters were in a happy space that generated a leisurely, yet authoritative approach. A noteworthy aspect was their comfort level in brisk renditions, with no compromise on bhava, with a just-minted feel to sangathis and sancharas. Rising above the lure of mere technique, they ensured a presentation of substance and emotive depth.
