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Charming violin duet
AKKARAI S. Subbulakshmi is a familiar name to the city crowd as she has accompanied many a dancer like Alarmel Valli. She has the distinction of accompanying stalwarts like M. Balamuralikrishna, N. Ramani and Ravikiran at this young age.
The concert with her sister S. Swarnalatha, together known as Akkarai Sisters, under the aegis of the Dharani Society, had all the charm of a violin duet, the artistes trying to achieve perfection and professionalism at every stage.
The sisters began with an adi tala varnam in Amruthavarshini composed by their grandfather Sucheendrapuram Siva Subramania Iyer. When they crossed two speeds and reached the third speed, it became a bit far fetched. Swarnalatha seemed to lose hold, and Nellai Balaji seemed to have a tough time in trying to keep pace and filling the gaps. This stretch of rhythm from Swarnalatha was to occur in the swaraprasthara in `Vathapiganapathim... ' in Hamsadhwani and in some of the pieces that followed.
A bhava-laden alapana in a full tone of Mayamalavagowla by Subbulakshmi enlivened the proceedings. With every compelling phrase, Subbulakshmi's face seemed to tighten up. The sisters who tried to project professionalism and confidence in the first few minutes of the concert smiling and maintaining eye contact with the audience, now set their gaze on their father, seated in the first row, for approval and instructions. This went on till the end of the concert. This was most unbecoming from both sides. Subbulakshmi seemed too dependent on the father, would tilt her head occasionally for consent and would play the pieces as instructed by him. Hence the communication with the audience was cut out.
Synchronisation
There was perfect synchronisation in playing the sangatis. In playing the line `charanambuja sevanam' in a jerky fashion to similar patters in the ragamalika `theeradu vilayaattu pillai', this came across charmingly well. Neraval was done for `Jatharoopa nibhachela... ' It was in the swaraprasthara of `Brovabharama... ' in Bahudari that the younger sister excelled. Subbulakshmi took to playing long gamaka-laden passages in this exercise. `Okaparichoota... ' in Kalavati followed this. The ragam thanam pallavi in Shanmukhapriya was a display of the artistes' mastery over the intricate item. Subbulakshmi displayed some magnificent ideas during the presentation of taanam. The pallavi `Sabarimalai Ayyapane... ' was set to Khanda triputa in Chaturasra nadai. Elegant swaras in Ranjani, Hamir Kalyani and Sindhubhairavi thrilled the audience, especially in the final phase, as Subbulakshmi rewound in descending sequence, interweaving all the ragas blending to a perfect finish. Balaji, and A. S. Krishnan on mukharshankh, hit it off with a delectable thani. A composition in Neelamani in tisra and chathurashra nadais followed. `Theeradu vilayattu pillai... ' received a different treatment. Going for a slow tempo, the sisters gave some vigorous strokes in perfect harmony. The concert ended with `Alaipayuthe... ' in Kanada, a western note of Madurai Mani Iyer and the Desh tillana by Lalgudi Jayaraman.
HAREESH BAL
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