Sisters’ grandeur on the right note
Pallavi singing is an art of innovation coupled with strict sadhana, which definitely makes musicians to be a vaggeyakara. The impeccable expertise of a vaggeyakara was bestowed on vocalist duo Ranjani and Gayathri. This trait was shown in abundance on the platform of Ravindra Bharathi Auditorium on November 7,
Pallavi singing is an art of innovation coupled with strict sadhana, which definitely makes musicians to be a vaggeyakara. The impeccable expertise of a vaggeyakara was bestowed on vocalist duo Ranjani and Gayathri. This trait was shown in abundance on the platform of Ravindra Bharathi Auditorium on November 7, where the duo gave an enthralling Carnatic performance. The concert was arranged on the concluding day of the 56th Annual Art Festival of South Indian Cultural Association.
Ranjani and Gayathri hail from a musical family. Trained by their mother initially, they went on to learn violin from Prof. TS Krishnaswami. They then took vocal training under the tutelage of PS Narayanaswamy and in Hindustani from Manek Bhide and Appasaheb Deshpande. Hence they are versatile both in Carnatic and Hindustani music, keeping their forte in Carnatic music intact. They composed some abhangs and thukkadas too, which shows their interest in the subject. Since 1997 they have been giving vocal performances and won laurels worldwide. They extensively toured the US, Canada, Singapore, Malaysia, the UK, Australia and many more countries. Now, they are the most sought after musicians in the Carnatic music field.
The duo started their concert with “Vande Vaasudevam” (Sri ragam), an Annamachaarya work. It was a pleasing rendition. As to RTP (Ragam-Thalam-Pallavi) they presented “Natakapriya” raga with an embellished ragalapana exhibiting thalam trait in a melodious style. They chose pallavi charanas (lines) as “Vasumahithaam Sumahithaam Mahithaam Hithaam Thaam /Asraya Naatakapriya Nuthaam”.
Umpteen bhavas come to our mind when we listen to the pallavi. The words chosen are in Sanskrit, which are filled with beejaksharas (syllables) with various interpretations. Coming to the delineation of pallavi charanams in “Natakapriya” and dwelling on other ragas such as Sahana, Vasanthi and Deepal, they were masterpieces of the evening. They essayed the ragas melodiously. There was thunderous applause in the auditorium.
The duo then rendered another krithi of Muthuswamy Deekshitulu “Neerajakshi Kamaakshi” (Hindolam) and “Edayya Gathi” (Chalanata) of Koteswara Ayyar with sizeable ragalapana. They took another jewel piece of Thyagaraja “Evari Maata Vinnaavoh” (Kambhoji) with a detailed ragalapana executed by both the sisters in unison. In the phrases, “Avaniloh Naarsheya”, “Bhaktha Paraadheenudanuchu / Parama Bhagavathula” they showed the beauty of neravals.
It should also be mentioned that the violin vidwan BU Ganesh Prasad provided good support to the duo. The vocalists as well as Ganesh Prasad proved to be matching for their quick follow up of laya and thala. In krithi expansion or in the bow technique, Delhi Sri Ram (mridangam) and Haribabu (ghatam) showed their expertise. They played thaniavarthana cycles in all the mathematical calculations.
The sisters concluded their recital with “Daasari Nindisa Beda” (Sindhubharavi) of Purandaradasu and Durg Rag Abhang “Dhanya Dhanya” with all the Hindustani flavour. The duo’s performance could be called one of the most outstanding performances that were presented at Ravindra Bharathi in the recent years.