How the Akkarai Sisters converse by way of their violins

Akkarai Sisters acting at Kalakshetra in Chennai
| Picture Credit score: Akhila Easwaran

Beneath the hallowed dome of Kalakshetra, the Akkarai sisters, Subbulakshmi and Sornalatha, offered a violin duet accompanied by senior thavil artiste Thanjavur T.R. Govindarajan and dual-percussionist B. Shree Sundarkumar. The inclusion of the thavil, a percussion instrument usually related to temple rituals, lent the efficiency an earthy vitality.

The efficiency commenced with the Kaanada Ata tala varnam ‘Nere nammithinaya’ by Ramanathapuram (Poochi) Srinivasa Iyengar. The duo performed it in two kalams together with the charanam and chittai swarams in madhyama kalam with perfection. Tyagaraja’s ‘Shobillu saptaswara’ in Jaganmohini adopted, bringing out the raga’s evocative melodic attraction. The composition, a tribute to the divine swaras, was rendered with tonal distinction. This mel kalam kriti was an interaction between the violins and fast-paced sollus of the mridangam.

Probably the most fascinating a part of the live performance was Syama Sastri’s swarajati ‘Kamakshi amba’ in Bhairavi, which provided a profound distinction. Subbulakshmi’s alapana showcased her soprano-like vary, whereas Sornalatha’s regular tenor offered a grounding counterpoint. The swarajati’s ascending swaras (Sa Ri Ga Ma Pa Da Ni), and every charanam beginning at progressively larger notes, was demonstrated with Subbulakshmi’s vocal interlude at mel sthayi ‘sa’, lending a pedagogic attraction to the efficiency. Sundarkumar’s groovy fillers together with the thavil’s sluggish, crisp strokes lent a solemn depth to the rendition.

With its starting a great three beats after the beginning of the tala, Tyagaraja’s standard ‘Bruvabharama’ in Bahudari, a comparatively less-heard raga, lent a refreshing attraction to the live performance. The kriti, set in Adi tala, explores the saint’s heartfelt plea to Rama, questioning the burden of defending a devotee. Subbulakshmi’s alapana fantastically established the raga’s playful but poignant contours, and Sornalatha’s Western-influenced quick bowing added a up to date aptitude with out compromising custom. The synchronised arudhi, with the mridangam and thavil taking part in in tandem, was a rhythmic spotlight that drew thunderous applause.

Akkarai Sisters performing with B. Shree Sundarakumar and Thanjavur T.R. Govindarajan
| Picture Credit score:
Akhila Easwaran

The primary piece of the live performance was undoubtedly the Ragam-Tanam-Kriti in Keeravani, with Tyagaraja’s ‘Kaligiyunte.’ Keeravani’s dimensions had been explored to their fullest by the sisters. Subbulakshmi’s alapana had been marked by her signature vibratos, and two-stringed bowing, whereas Sornalatha’s readability and precision introduced a complementary dimension, leading to a conversation-like tanam. The thavil elevated the grandeur with its crisp and measured sollus, and the rhythmic interaction between the mridangam and thavil throughout the thani avartanam was a masterclass.

The live performance concluded with the evergreen Sindhu Bhairavi tillana by Lalgudi Jayaraman. Regardless of minor amplification points, the sisters’ rendition was an ideal amalgamation of vitality and class, with Sornalatha’s harmonised interjections including a honeyed attraction. The colourful percussion accompaniment additional amplified the celebratory temper.