Melding style with sensitivity
GOWRI RAMNARAYAN
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FASTIDIOUSLY CLASSICAL: Akkarai Subhalakshmi and Swarnalatha. Photo_ R. SHIVAJI RAO
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FASTIDIOUSLY CLASSICAL: Akkarai Subhalakshmi and Swarnalatha. Photo_ R. Shivaji Rao
The maturity of the girls in pavadai-davani at once frightened and thrilled you at the Raga Sudha Hall. The twenty listeners at the morning violin duet of Akkarai Sisters Subhalakshmi and Swarnalata were lucky to hear music fastidiously classical, suffused with unsentimental bhava. An inborn gift combined with a relentless refusal to settle for anything but the best.
The sisters are set to form a style of their own. Their modulations were sensitive, hitting the higher notes with care and sensitivity, bringing off tonal variations on the different strings. Pace was well thought out, both for kriti and manodharama. Swaraprastara in the rakti ragas was different from the sparkle of nadais in Nattai (``Sarasiruha'') or the romp in ``Sobhillu'' (Jaganmohini).
Alapanas were burnished affairs, whether Ramapriya (``Korina varamu") or Sankarabhranam (``Enduku peddala").
Yadukulakambodi (``Divakaratanujam") was deeply moving, bearing shades of old padams, though one wondered at its inclusion in a recital which had both Kambodi and Sankarabharanam. The coil-into-coil phrases were patterned on the human voice and breath, while the mandara prayogas built a distinct base. Just right for Dikshitar's grand navagraha kriti (``Divakara").
Open enjoyment of each other's role by the team made the recital memorable. R. Satheeshkumar (mridangam) S. Karthick (ghatam) did not just offer fine undominating support (expected from the seniors), but also in encouraging the youngsters.
The girls in turn were visibly elated by the percussion.
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