Vocal : Ranjani & Gayathri
Violin : H M Smitha
Mrudangam : Delhi Sairam
Ghatam : G Omkar Rao
01. sAmi ninne kOri ( varNam) – sankarAbharaNam – ??
02. sharavaNabhava guruguhAm – rEvagupti – Dikshitar ( O,S )
03. rAmAbhi rAma manasu – dhanyAsi – Thyagaraja ( A,N,S )
neraval & swara @ ‘sangItamu bADumaNi’
04. vanajamukhi ena manadISThArthava – kAnaDa – Kanaka Dasa
05. pAhi jagadjanani – vAcaspati – Swathi Thirunal ( A,S,T )
06. sEvikka vENDum ayya – AndOLika – Muthu Tandavar
07. RTP – dwijAvanti – khaNDa jAti triputa x 2 , starting at +1 and tisra jAti jhampa tisra gati
varashailarAjasutE shAradE | jayajayavanti pAhimAm
rAgamAlika swaras in bhUpALam , neelakurinji 🙂 , sunAdavinOdini, darbAri kAnaDa
08. bannisi gOpi harasidaLu – kalyAnavasantam – Purandara Dasa
09. mAtA kAlika – darbAri kAnaDa or aDANa – ??
10. pag gunghurU bandh ( meera bhajan) – shuddh sArang
11. mangaLam – saurAshtram+madhyamAvati – Thyagaraja
The hall was full and the crowd stayed almost near full until the end. From the number of ‘request chits’ that were on the stage, I deduct that most of them were waiting and hoping that their request will be honoured. Had they been kind enough and sing those few request up front, would these crowd have stayed till the end ? Interestingly, despite singing for nearly 3 hours of classical fare, the artists got maximum appreciation ( only from the decibel levels of the applause) for the last two relatively lighter pieces. There was no abhang with the ‘bolava vittala’ chant, but it was replaced with almost similar trance like ‘meera nAchoongi’ upping the tempo taking the audience into delirium. So much was the effect, few elderly gentlemen seated ahead of me were standing towards the end and clapping hysterically to the beats. Another couple of minutes, they would have been dancing. Needless to say, the song was received with standing ovation and thunderous claps around the auditorium. Let me not get paranoid about these behaviours and appreciation. Each has their own taste and preferences and clearly, mine is not there. So, here is what I thought was the highlights of the concert.
For most part it was a good decent concert. Like in the case of Saketharaman, this duo too cherished in faster tempo rendering of kritis. Somewhere the ‘sowkhyam’ wasn’t felt. Interesting choice of a varnam, sang it in two speed, as some one remarked we dont see them doing it often. Another nice pick of revagupti kriti. Good rounds of swaras too. First dhanyasi alapana was ok, nothing to rave about. Short neraval line was done very well playing around the ‘sangItamu’ for some time. Good rounds of swaras to add to the impressive neraval. A short Kanaka Dasa devarnama came in before the main.
Vacaspati alapana from Gayathri was very good and H M Smita was even better. A clever grahabhedam to vAsanti was nice well received by the audience. She, of course explained this later, to the rescue of many who were scratching their heads to figure out. Pahi jagadjanani, the navarathri kriti of Swathi Thirunal was to be the main. There was no neraval, but an elaborate two speed kalpana swara followed by tani avartanam.
Concert actually improved with the pallavi. The initial phase of alapana from Ranjani was ok, but Gayathri added much needed life to the whole thing. From here on, it was a much improved affair. Tanam was exquisite from all three artists. Again Gayathri took the lead with some brilliant display of tanam singing. H M Smitha was fabulous in her returns. Tanam indeed was on of the high points of the concert. Pallavi line had a cleverly stitched in ragamudra. I remember them singing ‘jayajayavanti rAganutE’ in one of their pallavi neraval ( I think it was Ranjani). There was no standard trikalam, but a good shift to ’tisra jhumpa in tisra gati’ for the second part of the pallavi. Ragamalika swaras were impressive, especially the shrutibhedam Gayathri did from Natakurinji to Neelambari. H M Smitha, impeccably replicated the vocalists sojourn with her own ( my Neelakurinji above came from Neelambari+ Natakurinji). Both artist alternated between the rAga through the shrutibhedam very effectively.
The rest is already written above. I am definitely impressed with the selection of kritis and the pallavi.