How the Akkarai sisters communicate through their violin

Akkarai sisters performing at Kalakshetra, Chennai. Photo Credits: Akhila Easwaran

Under the sacred dome of the Kalakshetra, the Akkarai sisters, Subbulakshmi and Sornalatha performed with senior Thavil artist Thanjavur TR Govindarajan and double percussionist B. Presented violin duet with Shri Sunderkumar. The inclusion of the thavil, a percussion instrument often associated with temple rituals, gave the performance an earthly vitality.

The performance started with Kanada Ata Taala Varnam ‘Nere Nammithinaya’ by Ramanathapuram (Poochee) Srinivas Iyengar. Both of them played it with perfection in two Kalams including Charanam in Madhyam Kalam and Chittai Swaram. Tyagaraja’s ‘Shobilu Saptaswara’ in Jaganmohini brought out the soulful melodious charm of the raga. This composition, a tribute to the divine voices, was presented with tonal contrasts. This Mel Kalam piece was an interplay between the violin and the fast-paced solos of the Mridangam.

The most interesting part of the concert was the swarajati ‘Kamakshi Amba’ in Shyama Shastri’s Bhairavi, which offered a deep contrast. Subbulakshmi’s alapana showcased her soprano-like range, while Sornalatha’s steady tone provided a grounding counterpoint. The ascending notes of swarajati (sa ri ga ma pa da ni), and each charanam starting with successively higher notes, performed with Subbulakshmi’s swara interval on the mela sthira ‘sa’, gave the performance a pedagogical charm. Sundarkumar’s groovy fillers along with Thavil’s slow, crisp strokes gave the rendition a serious depth.

After the beginning of the tala with a good three talas, Tyagaraja’s popular ‘Bruvabharma’ in Bahudari, a relatively less heard raga, provided a refreshing charm to the concert. The work, set in Aadi Taala, traces the saint’s heartfelt plea to Rama, questioning the burden of protecting a devotee. Subbulakshmi’s alapana beautifully established the playful yet poignant outline of the raga, and Sornalatha’s Western-influenced sharp bowing added a contemporary flair without compromising tradition. Arudhi, synchronized with the simultaneous playing of the mridangam and thavil, was a rhythmic highlight that garnered thunderous applause.

Akkarai sisters b. Performing with Sri Sundarakumar and Thanjavur TR Govindarajan. Photo Credits: Akhila Easwaran

The highlight of the concert was undoubtedly the Ragam-Tanam-Kriti in Keeravani, with Tyagaraja’s ‘Kaligiunte’. The dimensions of Keeravani were fully explored by the sisters. Subbulakshmi’s alapana was marked by her distinctive vibratos and two-stringed bowing, while Sornalatha’s clarity and precision brought a complementary dimension, resulting in a conversation-like tanam. The thavil added to the grandeur with his crisp and measured sols, and the rhythmic interplay between the mridangam and the thavil during the Thani Avtaranam was a masterclass.

The concert concluded with Lalgudi Jayaraman’s evergreen Sindhu Bhairavi Tillana. Despite minor amplification issues, the sisters’ performance was a perfect blend of energy and elegance, with Soranlata’s harmonious interludes adding a sweet charm. The lively rhythm accompaniment further enhanced the festive mood.