Sister Duo Shine at Kalasagaram Festival with ‘Amma Ravamma’

Hyderabad:Brimming with confidence and piety, the sisters rendered ‘Amma Ravamma’ in Kalyani. The signal was loud and clear that Anahita and Apoorva are not just promising talents but artists with their schematics in place.

The ongoing Kalasagaram Festival and Dance at the Keyes High School in Secunderabad featured yet another delightful concert on Wednesday. Anahita and Apoorva were accompanied on the violin by L. Ramakrishnan, Dr D.S.R. Murthy on the mridangam and B. Janardhan on the ghatam.

The sisters began their recital with a varnam in Kedaragowla raga, creating a lovely atmosphere. The voices were in unison and the shruthi was impeccable. 'Shree Valli' in Natabhairavi ragam was well rendered.

A beautiful Kalyani raga alapana by the duo was followed by Thyagaraja's 'Amma Ravamma'. The krithi was packed with beautiful sangatis and was rendered in perfect pace. ‘Natanala Bramayaku' in the raga Lalitha elevated the mood.

The next piece was 'Vaananai', a tevaram in the ragam Keeravani set to Mishra Chapu talam. The sisters sang an elaborate raga alapana, reflecting a deep aesthetic sense and creativity of a very high order. Ramakrishnan was extremely good on the violin; his exploration of the ragas were sensitive and mature.

‘Goverdhana Gireesham’ in Hindola was pleasing too. The main piece of the concert was a ragam tanam pallavi in Bindumalini set to Trisra jathi triputa talam; the purvangam being in Chaturahsragati and the Uttarangam in Trisra jathi. The pallavi 'Kala kalaganalola' began in Atheeta graham and was executed to perfection.

Anahita and Apoorva brought out the essence of the raga and showed their prowess in rendering ragas with limited scope for expansion. The marvellous tanam included Saveri in the ragamalika. The pallavi rendering showcased their grip over laya. The ragamalika svaras in Ranjani and Durga flowed seamlessly.

Dr Murthy on mridangam was fabulous as always. His 'singing' mridangam elevated the concert experience. The tani avartam with Janardhan was engrossing as they played complex rhythmic patterns culminating in a perfect climax. Janardhan was complimenting Murthy all through, and his ghatam was in perfect sync with the mridangam.

'Krishna nee begane baro' in Yaman was unique and soulful. A composition of Oothukkadu Venkata Subba Iyer in Natakuranji was like the dessert at the end of a sumptous meal. Anahita and Apoorva concluded with Lalgudi G. Jayaraman's thillana in Mandragam, drawing huge applause.