Malladi Brothers’ vocal recital in Thrissur recently proved that quality and not quantity is the key to the success of a concert. Even as the duo, Malladi Sreeramaprasad and Malladi Ravikumar, demonstrated their creative ingenuity in exploring the ragas to the hilt, it was evident that melody was their forte. The bhava-rich presentation was noteworthy for the clarity of diction that helped the audience to follow the sahithya closely.
Generally duets are marked by the same timbre of the voices. But the combination of different texture of their voices created an alluring effect while singing in unison.
Affinity of the singers to Tyagaraja compositions was evident as they opened with ‘Raghunayaka’, in Hamsadwani and Adi to be followed by ‘Undedi ramududokadu’ in Harikamboji, Roopakam. While the former was dealt at length, the latter, relatively short, was captivating for the soft landing towards the end.
What revealed the musical prowess of the duo was the succeeding numbers. Sreeramaprasad opened the aalap of Reethigowla to be taken over by Ravikumar. The composition was Mysore Vasudevachar’s ‘Mama hridaye vihara dayalo Krishna’ in Khanta jathi tripuda. There was a flow of enchanting phrases from both as they essayed the raga extensively. Commendable was the change over between them that seemed smooth and continuous. Niraval at ‘Mama hridaye’ was not only protracted but the swara rendition appeared as a dialogue between the two.
Dikshitar’s ‘Ramanatham bajeham’ was treated in the same manner with extended aalap of Panthuvarali. Fidelity and proportion in the tani by Idappally Ajithkumar on the violin needs special mention. ‘Guruguha viditam’ was taken for niraval and showers of swaras followed.
The short ‘Makelara vicharamu’, Tyagaraja composition in Ravichandrika, Adi, served as a prelude to the major raga for the evening. RTP followed with all the concomitant niceties. Raga Mohanam by itself is melodious but as rendered by the duo it appeared more flamboyant. Tanam was short and crisp. The pallavi ‘Iswari Jagadeeswari Bhuvaneswari’ manifested in Saveri, Kalyani and Sreeranjini. Tani by Palladam Ravi on the mridangam and Tripunithura Radhakrishnan on ghatam was in the right proportion and devoid of noisy fireworks. Also the two exhibited restraint in the pakkam.
The format of a concert stipulates that its climax is the main raga. So one felt that elaborate treatment of two ragas prior to it was redundant. This could have been avoided.
‘Sree Rama’ in Yadukulakamboji and ‘Muddugare’ in Kurinji followed before they wrapped up with a sloka in ragamalika and a kriti of Walajepet Venkitaramana Bhagavathar in Suruti.
The programme was held under the aegis of Sree Thyagabrahma Sangeetha Sabha.
