Complete rapport with audience
Ranjani and Gayatri held listeners' attention singing the sweet compositions of Ambujam Krishna.
MELODY SUSTAINED: Ranjani and Gayatri did not allow the recital to sag. PHOTO: R. Shivaji Rao.
Ranjani and Gayatri have made a significant impact in the performing sphere with their tidy, meticulous vocal presentation. They are also commendable violinists who are now perhaps concentrating more on vocal music. Their concert recently in memory of the praiseworthy lyricist Ambujam Krishna, reflected their ability to promptly establish a rapport with the audience and sustain melodic levels without a dip.
The programme comprising Ambujam's kritis began with an Atana song that pays homage to Sri Tyagaraja, followed by `Karunai Puriya' in Sriranjani with involved niraval for the lyrical sequence "Padialandhidum Parama." This exercise was particularly pleasing because it was not a monotonous repetition of the sahitya but was a sanitised, mellifluent version.
Soft and soothing
The songs on Rama in Mohanam and Lalitha were flowing musical expressions, soft and soothing. The tani avartanam by the percussionists K. Arunprakash (mridangam) and N. Guruprasad (ghatam) without a hit and miss, was a well conceived rhythmic essay. The viruttam in Vasantha, Bahudari and Kanada as a precursor to `Enna Solli Azhaithai' was truly a fulfilling aural serving for the connoisseurs.
A ragamalika in Mand-Shanmukhapriya-Dhanyasi-Bilahari- Jonpuri and a Bagesri Bhajan raised the concert level to sublime heights dotted imaginatively with karvais and sensitive splitting of the words. The kalpanaswaras and "Mariyemi Kavalanu" in Kannada were high voltage efforts - quite enjoyable. Poorvi Kalyani was elaborated with decorum and dignity with focus on the swaroopa of the melody. The dhurita kala prayogas were impressive in terms of speed and clarity.
The violinist, B. U. Ganesh Prasad, replied with a melodic interpretation. "Iniyagilum ninai maraven" with spiralling sangatis... . on Lord Rama had a spontaneous upsurge of emotive appeal.
Mohanam has a singularly winning charm, and the raga exposition without a trace of intruding solfa notes like the Kakali nishada or pratimadhyamam. It is not easy to hold audience attention for the entire duration of a kutcheri with the songs of a single composer.
That the singers have achieved this speaks well of their excellent performing skills, and also of Ambujam's Krishna's compositions in sweet, simple lyrics in different languages tuned beautifully by stalwarts in ragas of colourful hues and most importantly the unqualified bhakti bhava embedded in them.
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