Sweeping rasikas off their feet

Nithyasree Mahadevan, the grand daughter of DK Pattammal, performed for Kartik Fine Arts at the Narada Gana Sabha Auditorium. The concert was definitely a grand feast of vocal showers. Yet, how nice it would have been, if she, with her gift of a good voice, had taken melodious strides to measure the dimensions and reach the exploration of the Tarasthayi.After a short spell with her pleasant resonant voice aligned to the sruti (Sugana Jeevana Rama) of Thyagaraja and (Gopalaka Pahimam) of Swati Thirunal, she ventured into the composition of Dikshitar (Seshachala Nayakam) in Raga Varali with lyrical expansion at Aravinda Badra. The final korvies were most endearing, marked by creative excitement. The seasoned singer that she is, she explored the world of melody, in the Raga Aahiri (Mayamma) of Shyama Sastri, with buoyancy and successfully swam through the top register. Her bold exploration of the fascinating depth of Carnatic music found outlets in her singing, with speed and celerity, in Bhairavi  Raga alapana (Raksha Bettare) of Thyagaraja which was rendered with torrential swaras ascending to higher octaves.The Harikambodhi composition of Harikesanallur Muthiah Bhagavathar (Durga Devi Duritha Nivashini) that followed was emotive with divine appeal. A composition in Raga Malika, (Ragathil Sirandhadhu) in 28 Ragas Kalyani, Thodi, Natakurinji, Bhairavi, Ranjani, Kamavardhini, Bhahudhari, Sudhdha Saveri, Hindolam, Deva manohari, Deva Kanthari, Vasantha, Malaya Marutham, Mohanam, Simmendra Madhyamam, Sankarabharanam, Saveri, Kappi, Shanmugharpriya, Nilambari, Atana, Anandabairavi, Dhanyasi, Darbar, Saranga, Bhoopalam, Bageswari, Sama, Sindhu Bhairavi and Madhyamavathi swept us off our feet. Her in-built reserves of voice, laya and intelligence, were astonishing.She ended her concert with a Sindhu Bhairavi composition of Purandaradasa (Thamboori) and in the Raga Basant Bahar (a Thillana of Maharajapuram Santhanam) which were most endearing. Undoubtedly, her logical manner of developing the nuances of the Ragas, with her feats of virtuosity were appreciable and the extremely discerning audience present were yearning for more. B. Raghavendra Rao on violin was ‘bowing’ to tradition and perfection. P Sathish Kumar on the  Mridangam and Madipakkam Murali on the Ghatam provided matching percussion support.