How should an artist, who is perceived to be on the verge of a senior ranking, perform to convince everyone of where he or she belongs? This is the dilemma the Mambalam Sisters faced. They have ridden their previous wave on the attractiveness of the duet concept and good kutcheri planning skills. Their performance brought to the fore some gaps that need bridging.
The programme was surely engaging - Pantuvarali varnam, ‘Sri Lakshmi Varaham’ (Dikshitar, Abhogi), ‘Chittam Irangadadenayya’ (Sivan, Sahana), ‘Chintaye Mahalinga’ (Dikshitar, Paras) and ‘Dachukovalena’ (Thodi, Tyagaraja) and Thiruppavai in Kedaragowla. This would easily rank as a fine list for a successful concert.
Execution is the higher order demand from experienced musicians. There was sedateness but perhaps too much. A faster tempo for ‘Dachukovalena’ would have aided their style better. The slower tempo calls for more experiential treatment.
The raga alapanas of Sahana and Thodi were clinical with characteristic phrases but creativity was on a leash. Voice modulation to embrace the emotive lyrics is part of the grammar of kritis such as ‘Chittam Irangadadenayya’ and one felt the Mambalam Sisters were missing a trick here. That day, Chitra’s voice was not at its best. Attention to culminating notes is an aspect the sisters should not drop their guard on.
A spirited niraval at ‘Sowmithri Tyagaraju’ and an engaging swarakalpana showcased the musical values that the Sisters are capable of portraying.
Violinist Hemalatha had a bright stint with her Sahana raga alapana spotlighting the rakti of the raga very well. Her sense of proportion for accompaniment is something many can learn from.
Ganapathi Raman’s mridangam play had good synchrony with the songs but the decibel levels were out of the pleasing range. K.S. Rangachari supported capably, especially in the thani.
