it would not suffice if the nuances of the kritis are understood. Yet, the delivery of the same in a public concert, should reveal the ingredients of understanding the bava and exhibit it in a manner that would attract the rasikas.
Keeping the creative impulses of their imagination in flow, the Ragam sisters (Sivaranjani and Nalinakanthi) opened their concert for Thyaga Brahma Gana Sabha, with a Koteeswara iyer kriti (mahaganapathy) in Kaanada. It was followed by Nenarumchera Napai of Thyagaraja, in raga Simhavahini (Janyam of 27th Kartha Raga Sarasangi) which were indicative of their padanthara under vocal mastero S Rajan.
The Arabhi Raga Alapana (Joothamurray) of Thyagaraja was projected beautifully and it evoked a brilliant approval from the audience. Santhana Ramaswaminam, Raga Hindola Vasantam of Dikshitar, revealed their aesthetic sensitivity, and blending of the voice with soft blossoming of music (reminding one of the presentations by vocalist Radha Jayalakshmi).
The appealing textual content of (Swara Raga Sudha) in Sankarabaranam ( with Graha Bedam to Kalyani Raga), were pleasing and their exposition with sequence of swaras, revealing the classical emotions, was presented palatably. However, it did not evoke distinct audience appreciation, indicative of the need to highlight the presentation with expression. The ending Sindhu Bhairavi (Koovi Azhaithal) was very appreciable.
B Ananthakrishnan on violin gave adequate support, while Kartik on mridangam and Nerkundram Sankar on Kanjira, accompanied them well, keeping up the rhythmic cadences.