The concert by the vocalist duo Anahita and Apoorva, presented by Charsur Arts Foundation as part of its thematic series Rama Nama – A Divine Mantra, opened on an engaging note.

As I walked into the hall, the sisters were already immersed in Sree Rama Jayame Jayam, a ragamalika kriti of Oothukadu Venkata Kavi. Beautifully tuned and sung with clarity, the composition unfolded the Ramayana narrative through a succession of ragas—Nata, Gaula, Varali, Arabhi and others—celebrating Rama’s victory with conviction and energy. The opening itself set the tone for the evening.

A brisk Ramachandram Bhavayami in Vasantha followed. The sisters are clearly adept at brighas and podi sangatis, executing them with ease, but a little restraint might serve them better. In pieces such as Telisi Rama in Poorna Chandrika, this tendency occasionally felt overused, resulting in passages that fell short of their full potential.

A refreshing choice was Adaya Sree Rama in Ahiri—heard less often in concerts—and was rendered with finesse. The main piece in Sree Raga was rendered competently, though by then Anahita’s voice began to show signs of fatigue. Despite this, Nama Kusuma Mula, where Tyagaraja reflects on worship through the flowers of the Lord’s names, came through with sincerity and bhava.

The sisters’ voices are pleasant and they reach the higher octaves with apparent ease. However, at times the thin and nasal tonal quality tended to dominate, causing them to lose steam midway through the concert. Given the thematic focus on Rama, it might also have been interesting to hear a broader mix of composers to bring in varied musical perspectives.

Much care was taken with the acoustics, ensuring that the overall decibel level was well maintained. The percussion was heard with clarity, without a trace of metallic harshness, and the absence of echo made for a pleasant aural experience. 

On the accompaniment, Arjun Ganesh on the mridangam and Sunil Kumar on the khanjira offered sensitive and well-judged support, ensuring their playing never overwhelmed the vocalists. Sayee Rakshith on the violin was effective throughout; his delineation of Sree Raga and his quick transitions in the opening ragamalika were particularly noteworthy.

by

Sukanya Sankar