How the Akkarai Sisters converse through their violins

Akkarai Sisters performing at Kalakshetra in Chennai
| Photo Credit: Akhila Easwaran

Under the hallowed dome of Kalakshetra, the Akkarai sisters, Subbulakshmi and Sornalatha, presented 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 often associated with temple rituals, lent the performance an earthy vitality.

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

The most interesting part of the concert was Syama Sastri’s swarajati ‘Kamakshi amba’ in Bhairavi, which offered a profound contrast. Subbulakshmi’s alapana showcased her soprano-like range, while Sornalatha’s steady tenor provided a grounding counterpoint. The swarajati’s ascending swaras (Sa Ri Ga Ma Pa Da Ni), and each charanam starting at progressively higher notes, was demonstrated with Subbulakshmi’s vocal interlude at mel sthayi ‘sa’, lending a pedagogic charm to the performance. Sundarkumar’s groovy fillers along with the thavil’s slow, crisp strokes lent a solemn depth to the rendition.

With its beginning a good three beats after the start of the tala, Tyagaraja’s popular ‘Bruvabharama’ in Bahudari, a relatively less-heard raga, lent a refreshing charm to the concert. The kriti, set in Adi tala, explores the saint’s heartfelt plea to Rama, questioning the burden of protecting a devotee. Subbulakshmi’s alapana beautifully established the raga’s playful yet poignant contours, and Sornalatha’s Western-influenced fast bowing added a contemporary flair without compromising tradition. The synchronised arudhi, with the mridangam and thavil playing in tandem, was a rhythmic highlight that drew thunderous applause.

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

The main piece of the concert was undoubtedly the Ragam-Tanam-Kriti in Keeravani, with Tyagaraja’s ‘Kaligiyunte.’ Keeravani’s dimensions were explored to their fullest by the sisters. Subbulakshmi’s alapana were marked by her signature vibratos, and two-stringed bowing, while Sornalatha’s clarity and precision brought a complementary dimension, resulting in a conversation-like tanam. The thavil elevated the grandeur with its crisp and measured sollus, and the rhythmic interplay between the mridangam and thavil during the thani avartanam was a masterclass.

The concert concluded with the evergreen Sindhu Bhairavi tillana by Lalgudi Jayaraman. Despite minor amplification issues, the sisters’ rendition was a perfect amalgamation of energy and elegance, with Sornalatha’s harmonised interjections adding a honeyed charm. The vibrant percussion accompaniment further amplified the celebratory mood.