Ranjani & Gayatri - Vocal
H.N. Bhaskar – Violin
Delhi Sairam – Mridangam
Duration 3 hours
Song List
1. Era naapai - Todi Varnam- Adi – Patnam Subramania Iyer
2. Sri Saraswati – Arabhi – Rupakam – MD
3. Sanathana – Balamanjari – Adi – T
4. Brocevarevarura – Khamas- Adi – MV
5. Enraikku Siva kripai – Mukhari- Adi- Nilakanta Sivan
6. Sankari Sankuru – Saveri- Adi (thisra) – SS
7. Thaye Thripurasundari – Suddhasaveri- Khanda capu – P Thooran
8. RTP Dharmavati – Khanda jati Triputa ( 2 kaLai ½ edam)
(Ragas Sama, Ritigowlai, Brindavani, Chandrakauns)
9. Viruttam ( Valaji, Hamsanandi, Sindhubhairavi ) followed by
Karunai Deivame - Sindhubhairavi – Adi – Madurai Srinivasan
10. Barase Badaria – Megh Malhar – Meera Bhajan
11. Bolova Vitala – Bhatiar - Abhang
12. Manglam
The CM enthusiasts at Ottawa were held to a superb treat by the RG team on the auspicious Durga Ashtamai day under the auspices of SICA Ottawa.
The concert started with the Todi varnam very classically rendered at the venue which had a good naada kaTTu. Quickly the homage to Goddess Saraswati was appropriately rendered traditionally with the MD composition with a swift delightful exchange of Arabhi swaras between the sisters. This was followed by a quick straight rendering of Thyagaraja’s Balamanjari kriti sanaatana. A beautiful aalaapana of Khamas by Gayatri followed. Bhaskar’s return was short and sweet. Followed by the melodious rendering of MV’s masterpiece Brocevarevarua. Sairam played the rhythm very appropriately for the citta swaram as Bhaskar played low and the swarakalapana that followed was just divine. Ranjani excelled in the lower octave as she used the madhyamam and both the nishadams very effectively. The exchange of swarams between the duo with ranjani coddling the madhyama octave and passing the taara to Gayatri whose voice delightfully soared to the ati taara was a sheer treat as the audience spontaneously broke into applause. Ranjani’s durita kaala swarakalpana also deserves special mention for the able support with Sairam who kept up the rhythm.
The next was my favourite mukhari of Nilakanta Sivan’s EnRaikku Siva Kripai. Ranjani started appropriately with the ‘KanRin kuralai kETTu..’ almost at the mantra octave; and Oh boy! What a ‘kuzhaivu’ ! It was a totally bhava laden rendering which brought tears – a superb mukhari! Bhaskar played very mellow to enhance the pathos in the kriti. The rendering typically reminded me of Musiri whose record (I mean the Vinyl one
) -breaking climb to fame was based on this composition as also the entanine which is etched in the memory of all oldtimers! Now followed the main piece which was Syama Sastri’s Saveri Sankari Sankuru Chandramukhi very appropriately chosen for the navarathri occasion. The aalaapana of saveri was very well executed with the able support of the violinist. The neravel was at the Shyama Krishna sodari with a very beautiful swara kalpana with ample scope in saveri. Again Ranjani took care of the lower octaves Gayatri simply soared at the high octaves whih is her speciality. Interesting to notice the violinist stopping to accompany Gayatri at the high ranges ( being afraid that his strings may break ), It was simply exciting. The swara exchanges were very enjoyable. For example as R tossed MDS’ to G who returned it as PDS’ with R tossing back as MPDS’ and several such almost like two expert Tennis players volleying back and forth – a never ending bout of delight! The next was Thooran’s Thaye thripura sundari in Sudda saveri. They belted the ciTTa swaram with such a verve that actually electrified the audience (I wonder who composed the ciTTa swarmas!).The stage was now set for the RTP which was Dharmavati that they chose. The pallavi was
Paalimsu bangaru kaamaakshi, guNavati dharmavati
In Khanda jaati Triputa taalam in 2 kaLai with ½ edam.
The duo took turns in the aalaapana and the taanam . The Trikaalams effectively done and the kaNakku (which I don’t undertand) was done with anuloma ascent to 1 kaLai was performed with precision with the laya support. The swara kalpana was a pleasure to watch with the jati gliding like snakes elegantly up and down! The RTP raga followup with Sama/Ritigowlai/Brindavni/Chandrakauns was delightfully executed to a theunderous applause.The Tani that followed was short indeed due to time constraints and Sairam acquitted himself creditably.
The post RTP was brisk with a viruttam the first stanza was in valaji
‘Ranga muttunga pariyaNai mEl valarkira…’ which I could not locate and Ranjani mentioned that it was from her father who got it from the inscriptions in a temple (does anybody know?). The second was done both in hamsanandi and sindhubhairavi was:
‘NinRum irunthum kiDanthum…’ which was from Abhirami Bhattar’s abhirami anthaathi. Followed by the well-known ‘karuNai Deivame..’ in sindhubhairavi appropriately rendered. Now a Rasika’s request was fulfilled with a Meera bhajan ‘barase badaria..’ in megh malhar which sounded more like brindavani but not (HM experts can comment.). The time was really up and they concluded with the Abhang in Bhatiar for which Ranjani gave a fine explanation followed by Mangalam.
The audience were ecstatically happy except for one complaint for not having a Kannada (Purandara ?) kriti which they would have gladly obliged were it not for the strict time constraint.
R&G and especially this team was very good stage manners (showing appreciation for each other and smiling at the audience..) and no wonder they are a star attraction in NA. They have youth, talent, and above all jana ranjakam. I wish them well and look forward to their return soon.