Scintillating sisters

MELODIC EFFORT The junior Hyderabad Sisters excel.

MELODIC EFFORT The junior Hyderabad Sisters excel.  

Nada Bharathi's music festival at Sri Thyagaraya Gana Sabha concluded with a melodious vocal duet by Aruna and Padma, known as junior Hyderabad sisters. The festival was dedicated to the Alathur Brothers. The sisters had their tutelage from the illustrious Lalitha and Haripriya and later from S Srinivasan. Over the years, the sisters had combined well in developing the ragas and rendering swaras. These traits were in view at the concert. Bhairavi Ata Thala varnam and Merusamana in Mayamalavagowla with a brief raga essay and swarakalpana was enough to set them well to go through the rest with ease. Their strength is their well-collected repertoire of some rare compositions too.

Like Ediyogati in Chalanata and Entani Vinnavintura in Oormika they rendered this time. Sahana essay for Ee Vasudha and the swaras were enjoyed by the audience. Kalyani was their main melody. Enduko Neemanasu was their choice. The melody of the raga continued in nereval and swaras. They chose Bhairavi for presenting Ragam-Tanam-Pallavi. The distribution of the musical phrases and grammar was equitable and both came into focus. The Pallavi set to Tisra Gati, Adi Thalam put to view their command and flow.

They chose to present Adhyatma Ramayana kirtana in Kaanada, which were written much before the advent of Thyagaraja. A tillana in Ragesri of Lalgudi gave finishing touch. L. Ramesh Pai on violin and Kapa Srinivasa Rao on mridangam lent support.

After some gap, Sujanaranjani presented a seasoned vocalist Chandra Bhanu in a pleasing recital arranged at its venue in Hanuman Devasthanam, Sanathnagar. She had the company of two experienced accompanists — S.V. Ramanamurthy on violin and A. Srinivas on mridangam. Blessed with good vocal verve and range, she appears to have specialised well the kriti rendition, meaningfully and musically too. Chandra Bhanu began with Kedaragowla varnam in two speeds. Sarswathi Namosthute in Saraswathi, a composition of GNB followed. Thyagaraja's Manavi Alakimpa in Nalinakanthi was good. Panthuvarali was the first raga effort. And she chose popular Apparama Bhakti for this. Her ability of presenting sahitya with clarity also reflected in the neravu part she did at the charanam Kapi Vaaradhi Datuna.

She took up Sankarabharanam as a major showpiece. She succeeded in building its majestic structure impressively, going through all the three octaves. Manasu Swadhinamaina was her choice number. Tani Avartanam by mridangist Srinivas was commendable. She concluded with Annamacharya's Namo Narayana in Kapi set to tune by the late Srirangam Gopalaratnam.


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