AKKARAI SISTERS IN MUSIC ACADEMY (MINI) HALL- 17/6/19

[CRama]

Purandaradasa kritis concert.

Accompanists.
L.Ramakrishnan- Violin
B.Sivaraman- Mridangam.

List of songs.
• Jaya jaya jaya Janaki kantha-Nata- Khanda Chapu (S)
• Paraakumaadade Paraamarisi yenna- Saveri- Adi (R)
• Rama Rama Rama enniro- Vasantha- Adi (R,S)
• Nambi kettavar illavo- Kalyani- Mishra Chapu (R,N,S)
• Thani
• Barayya Venkataramana- Lalith
• Ugaaboga- Baliyamanage Vamana bandande – Hamsanandi, Behag, Sindubhairavi
• Ranga baro- Sindubhairavi.

It was quite an engaging concert from the beginning to end. The time tested kritis or devaramas of the Pitamaha of Carnatic Music were presented with utmost reverence to the sahithyam revealing the intent of the composer. The bhakthi element predominant in the devaramas of PD were suitably embellished by the Sangeeta aspect effectively conveyed through the manodharmam elements without loss of aesthetics. The sisters who are often seen as accompanists, are much indulging when they occupy the centre stage. Very recently they impressed the music lovers with their vidwat in the Pallavi Darbar. Their pleasing voice, voice power, flexibility, sruti sudham, azhutham, planning, manodharmam, unison in singing, coordination, all help to retain the audience attention for long duration.

The brisk opening number Jaya jaya jaya janakikantha in Nata was embellished with liberal dose of kalpana swarams in the lilting khanda chapu. Without any meandering, Sornalatha leashed out a very impressive alapana of Saveri which consumed a solid ten minutes. The characteristic akara sangatis with sufficient dose of kampita gamakam and brighas bring out the raga swaroopam in an eloquent manner. Later Subhalakshmi presented a very expansive alapana of Kalyani for the main suite running for fifteen minutes which was much impressive for the disciplined approach in the alapana, choicest phrases defining the moorchana of the ragam, abundant manodharmam with the necessary voice power and range. The kriti epitomised by Ariyakudi was presented in suitable medium tempo with neraval in Garuda gamana sree Purandara vitthala and decorated with elaborate swaras. The sisters display enough laya complexities in the kalpana swaras and is invariably culminating in a long complex korvai.

After the thani, the Devaranama Barayya Venkataramana was sung in Lalith, and it was announced as being set by Hyderabad Sisters in this ragam. The Ugaboga popularised by MLV was rendered in Hamsanandi, Behag and Sindubhairavi. Here Akkarai senior’s handling of Hamsanandi had enough depth and imagination and not mere touch and go.

L. Ramakrishnan displayed ample vidwat and manodharam in his raga essays and swara returns. B. Sivaraman embellished the concert throughout with his choicest strokes, spacing and dexterity.

An excellent concert for two hours.