Swathi and Bhavna Sivasubramanian , students of Tara Anand, presented a brilliant joint Arangetram that did their teacher proud.

The concert started with a brisk rare varnam in kalyani followed by Sriganesha Saranam in Tilang. Bhava was 'kachitham’. Nanuvidachi in Riti Gowla -  the technique in ragaprastara was good and well rendered. The tempo could have been a wee bit faster. There is no doubt that as they mature they would excel in those quarters.  Vinay complemented very well bringing out the essence of the raga.

In Marivera (Latangi) bhava played a significant role in raga sanchara – and it was short and sweet. Sankatis were one of mellifluous graduation.  Mridangam accompaniment for this 'kanda jati' piece by Rajni was apt and accurate. Both Swati and Bhavna kept the tala pramana.

Telisirama – the sisters rendered it well and with perfect swara stana. Rajni and Vinay were no less in excelling.  Every time i hear Vinay, i am amazed by his dedication and total involvement. Even in this short piece, Swathi and Bhavna showed beautiful bhava, especially while rendering ‘ramayani’.  

In the Hindolam piece the swara pattern in madyama kalam was intricate and pleasant to hear.  Swati brought out Hindolam to its fullest melody.  Bhavna’s confident strides in handling the swaras was impressive.

During Shanmugapriya RTP, the raga sanchara was in right tempo and the essence of the raga stirred out.  Swati majestically glided through and stopped gently yet charmingly – so apt to that raga. From Vinay, what else cane one expect but matured & knowledgeable experience blended with bhava and harmonious melody. Both the sisters matched and retained their own creativity and originality during the Tanam.

The pallavi was set to pancha nadai (4+3+7,5+9 - very clever delineation). Superb Swati and Bhavna!!! Not at all trivial, considering it is their arangetram, the rendering was precise, perfect without losing melody. Smart move to switch to 3+4 (Misra sapu in madyama kalam,

Rajna – you did your guru proud – gentle yet majestic, technically progressive yet pleasing to the ears. "Yenna Nadai, Yenna Nadai" – was reminded of ‘swami oorvalam’ that comes accompanied by nadaswaram.  Sabash Rajna. Vignesh showed his proven rhythmic prowess through his kanjira. What sonorous sound! It sounded like a combination of elephant’s majestic walk and gallop of horses. As my friend next to me remarked, one could distinctly hear Shanmugapriya out of his kanjeera.

Behag and Boopalam were soaked with soulful bhava and the very first line enabled the audience to detect the raga. Boopalam was pensive and meditative. The sisters completed with a few short pieces.  Even at the tag end of the concert, they were energetic, prayerful, and soothing.  

Credit indeed goes to guru Tara and the parents who have stirred this avid interest in Swathi and Bhavna.  Wish them both a bright future in the Carnatic music world.

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