Follow us on
join us facebook
A classy recital by Nityashree
Nityashree Mahadevan held the audience captive for over three-and-a-quarter hour at the Sivagami Pettachi Auditorium on December 4, 2009. It was a fine start to the Margazhi music season in Chennai. Nithyashree on this evening was full of energy and looked fresh like a blooming flower even at the end of long concert for Bramha Gana Sabha. She was outstanding in her presentation and took the lead in making the concert a success with her command over raga and rhythm.

She was expressive as she sang Thyagaraja’s “Shashi Vadana” (Chandrajyothi), making the listening exercise a lot enjoyable. Papanasam Sivan’s “Kumaran Taal” (Yadukulakambhoji) was rendered with poise. Nithyashree took up Bindumalini for an elaborate alapana. It was riveting, as she explored the myriad hues of the raga with her voice traversing the top octaves with extreme felicity. She was breath taking at times, as she stayed at the top octave for a while. Nithyashree employed her rich voice with magnanimity during her raga alapana.

Thyagaraja’s “Enta Muddo” was the star item that day. Her voice was expressive. And, the bhavam was all there to see in her face. Hemalatha on the violin played deft strokes and proved an equal match to Nityashree. “Ranganayakam” (Nayaki) of Dikshitar is replete with lots of information on the deity at Srirangam and the temple. Nithyashree, a student of late D.K. Pattammal, gave a brilliant exposition of this kriti. The audience thoroughly relished the rendition.

As she was into Harikesanallur Muthiah Bhagavatar’s “Bhuvaneshwariya” (Mohana Kalyani) in Kannada language, power went off briefly. But she continued to sing undisturbed in pitch darkness. This fast-phased kriti was followed by a Madhyamavathy alapana. Her raga alapana was laden with brighas. It was a scintillating exercise. It was a little elongated exercise, though. She took Thyagaraja’s “Adigi Sukhamu”(Rupakam). She turned it richer by making a neraval on “Nike daya butti brotuvo”, enriching it with swaras. It was a good amalgam of rhythm and melody on the stage, as the percussion artistes Satish Kumar (mridangam) and S. Karthick (ghatam) played tani avarthanam with vigour and high involvement. “Summa Summa Varuma Sukham ”(Atana) of Ghanam Krishna Iyer was crisp. Her RTP (ragam tanam pallavi) in Latangi was the piece de resistance of the evening. She did an absolute justice to the raga alapana. Her pallavi singing was absorbing, as she selected a phrase with raga name embedded in it. The pallavi, “Rajamathangi Maragathangi Swarna Lathangi”, was set to Kanda jathi ada talam in two kalai. As she shifted the pallavi to ragas such as Nattai, Ranjani and Valachi, she drew appreciation from the discerning audience. Nithayshree did it with simplicity but in an aesthetic manner, making the manodharma sangeetham pleasurable to the listeners as well. She drew the concert to a close with a bhajan “Rama Rama”( Sindhubhairavi) and a tillana in Dvijavanti. It was indeed an evening to remember for those who made it to Sivagami Pettachi Auditorium.