Vocal : Mambalam Sisters ( Vijayalakshmi & Chithra)
Violin : Nalina Mohan
Mrudangam : H S Sudheendra
Ghatam : G Omkar Rao
01 sarasUDa ninE (varNam) – sAvEri – Kothavasal Venkataramana Iyer
02 maravakavE O manasA – sAma – PAtnam Subramanya Iyer ( A,S )
03 brOchEvAravarurA – khamAs – Mysore Vasudevachar
04 janani ninnu vinA – rItigauLa – Subbaraya Shasthri ( A )
05 AnandAmrtAkarSiNi – amrtavarSiNi – Dikshitar ( S )
06 manasu svAdhInamaina – shankarAbharaNam – Thyagaraja ( A,N,S,T )
niraval & svara @ ‘ rAjarAjESa niranjana nirupama’
07 RTP – shubha pantuvarALi – Mishra triputa, tishra gati +3 edupu?
pallavi line ‘ kAmAkSi karuNA kaTAkSi, nI padamulE gati’
rAgamAlika swaras in bilahari, bhairavi, simhEndramadhyamam, kamalA manOhari, madhyamAvati
short tani avartanam
08 ranga bArO pANDuranga bArO – ? – Purandara Dasa
09 svayE shrI rAma prabhu – mOhanakalyANi – Valmiki (first verse from rAmAyaNam)
10 kAvaDi chintu (manjunIga) – tuned by Musiri
11 thillAna (nirinirigamagarisa) – pUrvi – Thirugokarnam Vaidyanatha Iyer
12 jAnakI ramaNanE jayamangaLAm – surutti – ?
Beyond the typical names and artists you follow – those perennial ‘festival favorites’, if one is willing to spent time and listen to others, you will be surprised by the amount of depth in our music. The variety it can offer to a listener is limitless. I am already in the verge of getting bored by the ‘staple music’ that are being presented these days. Hence, I now prefer to listen to music from different schools. Even when they present the same familiar kritis, there would a freshness to it. As far as Mambalam Sisters are concerned, I haven’t attended any of their concerts before, but have listened to a few of their concerts and thus had a fair idea of what is expected in the evening.
The duo started with a brisk varnam and the younger one promptly started a short alapana in shyama. Nothing great to talk about either in the alapana , kriti or the short swara prasthana that followed. The khamas kriti that followed was again had a ‘well, what next’ response in me. It was the reetigaula that followed changed the whole complexion of the concert. I thought Chithra did a commendable job in her alapana. Janani Ninnuvina was impeccably sung, in such wonderful tandem , to some wonderful percussion support from Sudheendra. A rather fast amrutavarshini kriti came with equally fast swaras to cheer up the evening.
Vijayalakshmi sang an elaborated shankarabharanam alapana. The deliberation, the meticulous progression the longish akara phrases at the higher octaves and the general build up was very well done. Nalina Mohan played some wonderful passages in her return. Through out the Sankarabharanam she was in top form. Beautiful neraval at rajarajesha and the two speed kalpana swarams were nice. Sudheendra and Omkar played a short,good tani avartanam.
Shubhapantuvarali alapana was largely done by Chitra. Vijayalakshmi continued after the violin return and moved on the sing tanam. Tanam was rather short. They announced the pallavi with a kAmAkSi theme. After the trikAlam ( again only one repeat),and swaras, the ragamalika swaras were again formed from other kritis which had the same ‘kAmAkSi’ word in the pallavi line. Bilahari ( kAmAkSi varalakSmi), bhairavi ( kAmAkSi ambA), simhEndramadhyamam ( kAmAkSi kAmakOTi pIThavAsini), kamalAmanOhari ( kanjadalAyadAkSi kAmAKSi) and madhyamAvati ( pAlincu kAmAkSi) swaras ended with their respective kriti pallavi line.
The Valmiki ramAyaNa verse and a kavadichintu set to tune by their paramaguru Musiri Subramanya Iyer were impressive. Purvi thillana was sung before mangalam. I am not sure if this was the same ‘thodaya mangalam’ of the bharatanatyam performances. But it was rather nice.
Mambalam Sisters were known for a large repertoire. Their kriti selection yesterday was also brilliant. A very good concert by the vidushis yesterday at Ranjani Fine Arts and I hope to listen to them more often here in Bangalore.