Raghu and Ravi have an instinctive flair for the flute. The kalpanaswaras saw the flautists exchange single avarthana rounds between them, which were marked by refined, trimmed and tapering combinations.
A well-worked change at the beginning was the brisk ragamalika varnam built with Ranjanis – Sri Ranjani, Ranjani, Janaranjani, et al. ‘Sriganapathini’ (Sourashtram), the Sri Raga Pancharatnam and ‘Manavinalakinchara’ (Nalinakanti) were played in close sequence.
The two ragamalikas – ‘Kurai Ondrum Illai’ and ‘Chinnan Chiru Kiliye’ saw rasika-enjoyment at its highest. Raghuraman (violin) functioned with a fair level of confidence, both in raga vistharam and swara answering. Thanjavur Kumar (mridangam) gave a thani of absorbing substance and his acquaintance with the order of the sangatis was made explicit during his song-accompaniment.
Managing audio output with a keen ear for proper mixing isn’t difficult — it is merely a balancing act. A great deal has to be done on this score at the hall. Also, while introducing the performers, allusion was made to the genius T.R. Mahalingam, but he was referred to as S. Mahalingam! Just ‘Mali’ would have sufficed.