Ranjani and Gayatri’s concert teaches a lesson in planning and teamwork

Ranjani and Gayatri’s concert for Krishna Gana Sabha was full of artistry and liveliness. Importantly, he also attempted to reach diverse audiences.

‘Ongi Ulagalanda’ in Arabic (Andal Pasuram) was a fast start which moved into a more contemplative mood with Sudha Dhanyasi’s pleasant rendition. Neither a raga nor a kriti, ‘Azhaga Azhaga Azhaga Andru’ (Ambujam Krishna, Khanda Chapu) is usually sung in the opening section of a concert. The work was presented in Kalapramana which strengthened the emotions, especially in Pallavi.

Muthuswami Dikshitar’s ‘Chetasree Balakrishnam’ in Dwijavanti was almost like a recitation with clear accompaniment and lyrical diction. The sisters respect Kriti’s patanathara, and this was evident throughout the concert.

The elaborate Kalyani Alapana, in two parts (including Mohana Bhedam), was beautiful. Perhaps a little time was wasted in giving too much detail. The violinist M. Rajeev developed his alapana very cleverly. Tyagaraja’s masterpieces in Kalyani are too numerous to list – ‘Sundari Nee’ is a gorgeous composition, and Ranjani and Gayatri’s niraval in ‘Mand Gaman Neethu’, set by the composer in a wonderful upper octave structure (SNR, SGR, MGR), was one of the highlights. He showed that Manodharma is more natural if it exploits innate beauty in creations. The vocal performances of all three were liked by the audience as expected. ‘Kanna Tandri Naapai’ at Dev Manohari was a quick-fire separator of the two parts of the concert.

Ranjani and Gayatri’s alapan in Raga Lalita was full of powerful phrases. , Photo Courtesy: Srinath M

Lalita is a raga full of emotions and has some poignant compositions by Dikshitar and Shyama Shastri. Therefore, the alapana for RTP is packed in crisp but punchy phrases, sometimes tinged with Hindustani sadness.

‘Sangeet Vadya Vinodini Sada Bhajami Lalita’ is a twist from Dikshitar’s famous work – ‘Hiranmayim’. The Pallavi established in Khanda Jampai was enunciated by Ragamalika and Gayatri singing Amritvarshini in parallel with the base scale. Singing two or three chord notes without any changes is a great skill and one that comes with a lot of practice.

‘Kakkai Siraginile’ in Brindavan Saranga, with Krishna lyrics in Kannada and Marathi in the same raga, made for a perfect finale. The sisters’ concerts teach lessons in planning and teamwork, with never a dull moment.

Mrindangist Manoj Shiva enjoyed the variety of rhythms and virtuosity presented. KV Gopalakrishnan on Kanjira was powerful in his accompaniment, playing interesting naadis in Thani.