SRI THYAGA BRAHMA GANA SABHA
Promising pairs of talent
LALITHAA KRISHNAN
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Perseverance and practice are bound to take the Chinmaya Sisters and Aiyyar Sisters far.
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Photo: K. N. Muralidharan.
DILIGENT: Uma (left) and Radhika.
With light, pleasing voices well-aligned to sruti, the Chinmaya sisters, Uma and Radhika, displayed a resolve to persevere on a path forged by discipline and diligence.
The sisters are poised at that point behind the threshold of recognition where accountability matters, a promising sign for growth in the right direction.
Radhika's Chakravakam alapana exhibited an orderly progression of ideas, a slight trace of inhibition impeding the free flow of kalpana. The disciplined structuring of kritis enhanced their impact in `Naa Manavini' (Chakravakam) and `Nannu Paalimpa' (Mohanam).
Mohanam appears to be in vogue as the raga of the season. Elaborated by Uma, who seemed the more assertive of the two, the industrious essay expended much time, energy and effort on the development of the raga in the tara sthayi, aided by the easy upward reach of the voice.
Aesthetically positioned jarus drew and held attention. The kalpanaswaras did not shy away from the task of sustaining a taut lead-up to the concluding korvai.
If the duo could, with time, acquire greater depth in voice and content, their interpretations would benefit immensely.
Kandadevi Vijayaraghavan (violin), Kallidaikurichi Sivakumar (mridangam) and Papanasam S. Sethuraman (kanjira) worked well as a team and enthused the vocalists with their strong support.
The Aiyyar Sisters' (Srividya and Sudha) singing held promise. Presenting wholesome music fortified by sound patanthara, their voices rang out loud and clear in tandem. With consistent sadhana and increasing confidence that can arise from achieving the right goals, they face a bright future.
Srividya's compact Saveri delineation complemented by neraval and tidy sarvalaghu swara sequences in `Shankari Shankuru' testified to an earnest approach.
Sudha's exposition of Mohanam gained in confidence as characteristic phrases strengthened her hold on raga swaroopa, the essay gaining momentum in the tara stayi.
Cultivating a better mandra stayi reach and paying more attention to the precise alignment of swarasthanas would greatly enhance her skills in alapana. `Sadaa Paalaya' woven around beautifully visualised sangatis nurtured by anuswaras effortlessly went to the heart of raga bhava.
The breezy sarvalaghu swaras with the kuraippu homing in on `ga' were crowned with a well-executed korvai.
Srividya (seated) and Sudha.
The duo's evident rapport and relaxed air communicated itself to the listeners.
Fluency and assurance marked the violin accompaniment of Vijay who etched a sprightly Mohanam. Harish Kumar (mridangam) and Prashant (ghatam) provided satisfactory support.
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