Unlike most jugalbandhis, the husband-wife team of Sriram Parasuram and Anuradha Sriram never mix genres. It is the Carnatic raga first followed by its equivalent in Hindustani. That way, the rasika's comfort level is ensured.
Sriram sang Pantuvarali in assertive style while Anuradha tried some difficult phrases in her Carnatic phase. A few slips notwithstanding, her raga essay did not stir a chord. Is it due to high sruti?
Raghavendra Rao played a regulated Pantuvarali after which the pair presented a devarnama ‘Idhu Bhagya Idhu Bhagya.' The niraval saw some interesting exchanges among the three. This was followed by an array of kalpanaswaras. The azhutham which Sriram had was missing in Anuradha's, which sounded more stylish. Her leaning was more towards Hindustani.
B. Ganapathyraman (mridangam) kept the tempo up with his structured strokes. Next was a Hindustani composition in Rag Puryadhanasri. The approach was pure and hence the performance was enhanced. The high pitch suited Anuradha better in her Hindustani rendition. The akhara and briga-oriented improvisations of the duo in this phase were interesting.
Umakanth Puranik (harmonium) followed the main artists like a shadow while Rajendra Nakod (tabla) embellished the rendition with his imaginative playing.
‘Jamna Kinare Mora Gaon Saanware Aijaiyyo' in Suddha Kalyan had a folksy touch. Sriram showed the many colours of the raag by singing several variations for the words ‘Jamna Kinare.' Anuradha followed suit. This was followed by the evergreen ‘Krishna Nee Beganay Baaro' in Yaman Kalyan. Sriram's treatment of the raga was distinctive. Following a sudden power cut, Sriram and Anuradha sang Tyagaraja's Jayantrisri piece, ‘Marugelara' mike-less. The swaras were merely an exercise before the thani that passed muster. The Thevaram in Suddha Saveri was emotional.
The concluding piece in Sindhubhairavi, a Kabir bhajan, was full of feeling.
