Seamless sibling synergy defined Akkarai Sisters’ concert

In the rich tapestry of Carnatic music, sibling collaborations have long been a cherished tradition. Among these esteemed pairs, the Akkarai Sisters—S. Subhalakshmi and S. Sornalatha—stand out as a preeminent force. Renowned for their mastery as both violinists and vocalists, they command a significant presence within the Carnatic sphere, their stage presence defined by an extraordinary synchronicity where musical prowess and intuitive understanding merge seamlessly.

Their recent two-and-a-half-hour vocal recital commenced with Tyagaraja’s majestic ‘Meru samana,’ enriched by an intricate swara adjunct woven around ‘Kalamuna sobillu.’ The initial brisk tempo carried into Tyagaraja’s ‘Yochana kamala’ in Darbar raga, its vibrancy further accentuated by a captivating swarakalpana on the pallavi.

The concert then delved into a profound raga exposition of Thodi, initiated by Sornalatha and expertly continued by Subhalakshmi. Their rendition meticulously preserved the raga’s intrinsic characteristics, crafting a compelling sonic portrait as their voices ascended effortlessly through the upper registers. A highlight was the rarely-performed Tyagaraja kriti, ‘Tappai bratiki pova tarama,’ delivered with an enchanting chittaswaram, followed by exquisite kalpanaswara exchanges centered on the pallavi line.

A delightful shift in ambiance arrived with Purandaradasa’s spirited composition, ‘Rama rama yeniro,’ presented in the vibrant raga Vasantha, further embellished with an active swara adjunct.

This was followed by Muthuswami Dikshitar’s ‘Mamava pattabhi rama’ in Manirangu. The subsequent focus expanded into an elaborate exposition of Varali, another poignant raga, interpreted through deeply moving phrases. Here, Tyagaraja’s ‘Eti janmamidi’ was chosen, its emotional core conveyed with remarkable sensitivity. The niraval at ‘Sagara sayanuni’ particularly underscored the raga bhava and the composer’s profound devotion to Rama. The intricate swara exchanges, primarily on shadjam, gracefully transitioned into a dynamic tani avartanam, masterfully delivered by S. Sundarkumar on the mridangam and S. Karthick on the ghatam.

A delightful surprise awaited the audience during the percussive interlude. Following the initial vibrant exchanges between Sundarkumar and Karthick, Sornalatha unexpectedly joined the tani avartanam, demonstrating her prowess with the konnakkol—a rhythmic vocalisation traditionally considered a male domain. This remarkable addition significantly amplified the richness of the rhythmic dialogue, eliciting an enthusiastic round of applause from the appreciative rasikas.

Throughout the performance, Sruthi Sarathy provided sensitive violin accompaniment, her deep comprehension of the Akkarai Sisters’ unique proficiency ensuring a harmonious and supportive presence.

The captivating recital drew to a close with Dikshitar’s ‘Rama rama ramkali’ in raga Ramkali, notable for its Hindustani inflections, followed by Papanasam Sivan’s heartfelt ‘Ramanai bhajithal’ in raga Maund.