Ranjani-Gayatri Bengaluru concert: Spirituality is at core of great music, says renowned vocal duo

5 days ago

In the world of Carnatic classical music, a devotional song is not just sung — it is offered. Each note, each phrase, rendered with depth and clarity, has the power to quiet a room and stir the soul — something Ranjani and Gayatri have mastered over years of disciplined sadhana and spiritual surrender. Live concertRanjani and Gayatri performed in Bengaluru on Friday. The sisters took to the stage of the Chowdiah Memorial Hall with co-artists Pt. Ronu Majumdar (Flute), Dr Jayanthi Kumaresh (Veena) and L Ramakrishnan, Sai Giridhar and Anirudh Athreya. Here, they celebrated monsoon on a musical note, with soulful ragas like Megharanjani, Malhar, Des, and Varunapriya soaking audiences in the 24th year of Banyan Tree's 'Barkha Ritu' — an artistic experience of the rainy season. This comes after their live performance, organised by HCL Concerts, in the national capital last month. Notably, they have many more concerts scheduled later this year. DH's Swarna Srikanth spoke to the duo as they narrated some unforgettable memories with their guru and senior musicians, their love for devotional songs, and how classical music has evolved with time. Excerpts: Your devotional albums are energising. Do you feel blessed and experience a magical/divine vibe performing the spiritual genre?Ranjani: Yes indeed. As much as we are consciously paying attention to the details- the pronunciation, precision, sync, there will be a moment when one realises that there is magic at work. It is this grace that drives the project to completion, we believe that this divine energy is what makes every piece of music or stotra glow.Having performed on global stages, how do you see India being perceived as a spiritual destination — through events like the Mahakumbh, Char Dham Yatra, Amarnath Yatra, or Tirupati Brahmotsavam? And how does music contribute to that divine experience?Gayatri: Though devotion and spiritual depth is deeply embedded in every aspect of carnatic music or South Indian classical music, this music has so many diverse aspects- from language, poetry, melody, creative improvs, spontaneity and contemporary vibes, this music is all of this and more. But the spiritual aspect is at the core of this great art, and we believe that this music is the finest and most evolved representation of that transcendence. We have seen in many concerts how even first time listeners from other countries and cultures experience this divinity. In that sense, this music is a beautiful part of the divine essence and legacy of Bharat's spiritual and cultural tradition.What made you stay focused on devotional songs and not very widely explore Bollywood, cine music, or any other?Gayatri: Devotional songs are not just what carnatic music is all about- it is an entire universe that has multiple dimensions which takes lifetimes to savour, experience and understand. Though we haven't taken any stand to keep away from popular medium or cine music, life has taken us in a particular direction, and we have found infinite fulfillment in this. We have also sung a small number of film songs -- in Tamil and Telugu -- and that has been a very enriching experience too.Earlier many learned artists believed in limiting classical music only to temples and festivals, what's your take on this?Ranjani: Classical music has kept up with evolving social realities, and is not restricted to temples alone. We have sung concerts in a metro station and a cinema theatre, and they have been memorable, beautiful experiences! That being said, a reality show may not be an ideal space for profound immersion and authenticity which is essential for classical music.We would like to know one of your unforgettable memories with your guru/s. Ranjani: A class that happened with our Guru TS Krishnaswami during torrential rains and power failure in Mumbai, lit only by a single candle, filled with a kinship that is inexpressible is one of our most precious memories. Sri Padma Bhushan PS Narayanaswamy playfully chiding us, when we would indulge in self criticism 'pesama paadu, ellam nannave irukku!'- don't keep analysing, just sing, you are good!- is a very dear memory.Could you share with us your experience of performing with legends like Padma Vibhushan D.K.Pattammal and Padma Vibhushan M Balamurali Krishna.Gayatri: Along with absorbing their incredible music, we were inspired by how generously they shared space with us, smilingly encouraged us to spread our wings and how lovingly they made us part of their music and concert. Their large heartedness and grace will always inspire us.Every raga evokes a different feeling, is there any raga which you admire and vibe to the most?Ranjani: We vibe to every raga in a different way. Admiration? Well, it is surrender. Once we surrender to the raga, it makes us vibe, dance and lose ourselves in Her.What do you want the audience to know about classical music so they can enjoy and appreciate it better?Gayatri: An open mind and a willing heart. That is all it takes. Carnatic music is a timeless music which can be enjoyed at any level- from the uninitiated to the seasoned connoisseur, and every rasika takes from the music a different slice of it. Having said that, paying attention to the melodies- ragas and keeping beat with the tala are a couple of things the relatively new listener can do to connect with the music. Recordings vs live performances, what interests you the most and why? Gayatri: We have learnt from both. Recordings teaches us the value of precision, finesse in rendition and sensitizes us to pay attention to microscopic nuances that make a huge difference. A live performance is an all round experience- we are tested and challenged in every aspect of music- and also learn how to draw the best within us and connect that with the audience. Do you still experience goosebumps before heading to the stage?Gayatri: As we sit on stage, preparing to start the concert, it is a very intense moment where the mind and energy is fully focussed. When the concert starts, the music takes over and all the emotions or rasas dance in that space- from joy to sorrow, from excitement to repose, from exuberance to serenity, and a few goosebumps moments when the music and the emotion draws both the listener and musician in a magical web. Have you ever felt instruments take the back seat during a concert, with vocals getting the spotlight?Gayatri: If the main musician is a vocalist, the ensemble of musicians will be selected to optimally flow with and highlight the voice. If the main musician is an instrumentalist- then the spotlight will be automatically on that instrument. If not music, where would have the world seen Ranjani and Gaytri? Gayatri: Perhaps as a writer.Ranjani: Dancer or an actor.One song you would dedicate to each other?Ranjani: Every song that we sing has each other's presence in it, so it is hard to single out a song.

Hashtags

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

A Kathakali padam was the highlight of Sikkil Gurucharan's recent concert

The Hindu

2 days ago

The Hindu

A Kathakali padam was the highlight of Sikkil Gurucharan's recent concert

All the artistes on the stage shared the spotlight equally as Sikkil C. Gurucharan sang the niraval along the sub-main package in Poorvikalyani. When the vocalist chose 'Kadalan Chidambaranathan' along the opening stretch of the Tamil composition to expand upon the raga contours, vidwan Umayalpuram K. Sivaraman underscored the beauty of restrained mridangam-playing for the serene rallies. Equally pleasing was young B. Shree Sundarkumar on the kanjira whenever violinist V. Sanjeev took cue, enriching the melodic exercise in Gopalakrishna Bharati's 'Karanam kettu vadi'. If this was among the aesthetic highlights of the 110-minute kutcheri held in Chennai last week in memory of classical and playback singer Kalyani Menon (1941-2021), Gurucharan also offered a glimpse into the increasing eclecticism in Carnatic music. For instance, the Poorvikalyani piece was followed by an innovatively-conceived song from the illustrious Telugu poem Radhika Santwanam, even as the penultimate composition was a Kathakali padam in a raga endemic to the dance-theatre. Interestingly, Kalyani Menon's filmmaker-son Rajiv was the one who tuned (in Yadukulakamboji) the 18th-century song 'Kanugava harimomu' by Devadasi Muddupalani. Rajiv Menon's brother Karun suggested Gurucharan to sing 'Paripahimam hare' in Navarasam — a padam, which portrays Draupadi's angst, from the Kathakali play Duryodhanavadham by Vayaskara Aryanarayanan Moos (1842-1901) of Travancore. Over the past decade, Kathakali songs have begun to find space in the Carnatic repertoire. While they often acquire a different flavour in this setting, Gurucharan largely adhered to the original. Navarasam, rendered in madhyamashruti, evokes shades of Kurinji and even Navaroj — both derivatives of Sankarabharanam. For novelty, Gurucharan introduced Yamuna Kalyani and Mayamalavagowla in the preluding viruttam (or shlokam, as it's called in Kathakali), before launching into Navarasam in the final, fourth line. The unhurriedness was appealing. No different was the case with the still slower Kanugava Harimomu, which allowed Yadukulakamboji to unfold with the expansive strides characteristic of the asymmetric raga. Wanting the focus to remain solely on the kriti, the vocalist avoided embellishments, barring a brief introductory sketch of the raga. The longest alapana came for the centrepiece in Bilahari, with Gurucharan and Sanjeev dedicating 15 minutes to solo sequences that showcased the raga's vibrancy, even hinting at traits of Western classical during its brisk passages. Tyagaraja's Naajivadhara followed as a clever contrast, its leisurely 16-beat cycle allowing each line to unfold with measured grace. The vocalist-violinist duo built up the pallavi with increasingly ornate flourishes that embellished the composition. Though there was no niraval, the kalpanaswaras more than compensated. A flurry of sol-fa syllables shaped the converging round, paving the way for a regal tani avartanam. The nine-minute exchange between Sivaraman and Sundarkumar not only threw light on the arithmetical charm of two-kalai Adi tala, but also the evolving grandeur of South Indian percussion as interpreted by two artistes from different generations.' Gurucharan opened the concert with a cursory alapana of Kalyani, quickly ascending to the raga's upper note as a launchpad for Vanajakshiro. As the varnam by Ramnad Srinivasa Iyengar progressed into its latter half, the vocalist showcased his ability to maintain precision in the demanding second speed. A supportive Umayalpuram bolstered the musical framework with care. The second piece was in Devamanohari, a raga known for its zigzag phrasing. Gurucharan exemplified this trait across the chittaswara in Mysore Vasudevachar's 'Palukavademira'. The scale-up along 'Marachitavemo' at the end of the charanam once again highlighted Devamanohari's kinship with Andolika — another janya of Karaharapriya. As a filler before the principal Bilahari suite, Gurucharan chose 'Sumasayaka vidhura' in Karnataka Kapi. Set to Rupaka tala, the Swati Tirunal composition flowed with a quiet sobriety that captured the essence of longing. Towards the close, a medley of Kalyani, Kamas, Vasantha, and Mohanam marked the retreat. The Mangalam in Sourashtra and Madhyamavati was preceded by a tisra-gati Adi tala tillana by Ponniah Pillai in Sankarabharanam.

‘Thanks to the city and its unique Margazhi season, my art found an anchor'

The Hindu

2 days ago

The Hindu

‘Thanks to the city and its unique Margazhi season, my art found an anchor'

If I claimed that I am Made of Chennai, I wouldn't be exaggerating! Chennai is not just where I live; it is what I breathe, what I believe, and what 'built' me, said Sudha Ragunathan, Carnatic vocalist. I might define Chennai as a city of soul and substance, where tradition meets modernity with effortless grace, innate charm, and dignified simplicity. From the rich aroma of filter coffee to the flowing Kanjeevaram silks; from the winding Marina beach where one can gaze at the waters glistening silver and gold under the blazing sun, to the cluttered roads, a little disorganised with innumerable number of majestic hotels, cafes, and chai hubs; and the ragas and thalas 'floating'out of the cultural sabhas, Chennai stands tall, justifying its inclusion in the UNESCO Creative Cities Network for its rich musical tradition. The city has something for everyone. The city and its unique Margazhi season have given me an identity, cradled and nurtured me, and that is how my art found an anchor. I could be travelling to the most exotic country in the world, but my heart always yearns to return home — to the city and its warmth! (As told to Deepa H. Ramakrishnan)

Time of India

3 days ago

Time of India

RLV college arts fest begins today

Tripunithura: Samabhavana, a five-day annual arts fest, will begin at RLV College of Music and Fine Arts on Monday. The festival will feature a staging of various performing art forms, including Bharatha Natyam, Kathakali, Carnatic vocal and fusion music. K Babu, MLA, will inaugurate the arts fest in the morning, during which municipal chairperson Rema Santhosh will deliver keynote address. A dance performance by Paris Lakshmi, Carnatic vocal by Sreevalsan J Menon and Vaadya Mahanandam by students and teachers of RLV college are the highlights of the fest. On Friday, Kerala Sangeetha Nataka Akademi chairman Mattannoor Sankarankutty will inaugurate concluding session, followed by staging of Sree Rama Pattabhishekam Kathakali. Stay updated with the latest local news from your city on Times of India (TOI). Check upcoming bank holidays , public holidays , and current gold rates and silver prices in your area.