The Chinmaya Sisters, Uma and Radhika, who’ve younger and melodious voices, offered a full of life live performance. Making a song at a prime sruti, the sisters controlled to transport throughout octaves with out sounding shrill at any level.
The primary music of the night time used to be ‘Sarasiruhasana priye’, composed through Puliyur Duraisami Iyer in Nattai. With swift kalpanaswaras on the word ‘Saraswati’ within the charanam, Uma showcased her talent in shifting from the decrease rishabam to its counterpart within the higher octave and touching the mel sthayi panchamam without difficulty. The kriti used to be preceded through the shloka ‘Yakundendu’.
Launching right away the Muthuswami Dikshitar’s ‘Sri Saraswathi’ in Arabhi, the singers offered the composition with the samashti charanam with none needless frills. The flowery Kiravani that adopted used to be sung through Radhika and had attention-grabbing inventive flashes. The karvai at madhyamam and the motion to higher rishabam framed the smooth traits of the raga neatly. ‘Amba vani’ through Harikesanallur Muthaiah Bhagavatar with niraval at ‘Vara veena pani’ and a bath of kalpanaswaras earned them applause. The soothing notes through seasoned violinist M.A. Krishnaswamy made it a nice listening revel in. Vijay Natesan’s attention-grabbing korvais at the mridangam for this piece inspired Sunil Kumar at the kanjira to get a hold of identical patterns.
Each percussionists expected and stored tempo with the singers throughout the live performance. Dikshitar’s Ghanta raga Kamalamba navavaranam ‘Sri Kamalambike avava’ rendered with a excellent sahitya bhava carried the melodic impact that used to be wanted for the kriti. A sprightly ‘Sudha madhurya bhashini’, composed through G.N. Balasubramaniam, which displays his making a song taste, got here subsequent. Regardless that the fleet of sangatis call for a racy tempo, somewhat restraint will have rendered it extra delectable.
The laya patterns exhibited through Vijay Natesan and Sunil Kumar on the strains ‘Kamalalaya tata nivasini’ adorned the lyrics. The Mohana raga alapana through Uma used to be an expedition around the spectrum of the raga. Krishnaswamy’s violin in standard Parur taste supplied freshness to the delineation. The principle section used to be no longer a kriti, however a couple of strains from the Lalitha Sahasranamam. Starting with the road ‘Bhavani bhaavanagamya,’ the singers rendered a two-line shloka because the pallavi, the following shloka as anupallavi, the next two shlokas as charanam, and the following two in madhyamakala trend. They set the kalpanaswaras on the first line of the shloka and piled up the swaras sumptuously in each the slower and quicker paces.
Some pleasant dhattu words through the singers matched with identical passages through the violinist spoke for his or her inventive abundance. Adi tala in two kalais and the swara patterns established through the singers will have to have induced the percussionists’ creativeness too, which led to an vigorous tani avarthanam. Subramania Bharati’s ‘Thedi unnai saranadaindhen’ in Sindhubhairavi used to be breezy with gorgeous ornamentation on the line ‘Nambinar keduvadhillai’. Considerate pauses through the percussionists published the music’s lyrical class.
The sisters offered one music from Oothukadu Venkatakavi’s Kamakshi Navavarana kritis, ‘Bhajasva Sri Tripurasundari’, in Nadanamakriya with verses in madhyama kalam each in anupallavi and charanam, adopted through Papanasam Sivan’s ‘Karpagame’ in Madhyamavati to wrap up the live performance.
The Chennai-based reviewer writes on classical track.