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Nityashree casts a magical spell
By Sudha Jagannathan
Nithyashree Mahadevan gave a dazzling concert
on the evening of January 1, 2008 at Parthasarathy Swami Sabha.
Nithyashree entertained the audience for close to 200 minutes
with a splendid variety one could ever imagine. She was in top
form on this evening.
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After her three-and-a-quarter-hour
concert, Nithyashree still appeared fresh. And, the audience,
too, yearned for more music from her. She struck a good rapport
with the audience, and kept them under "voice arrest"’
with some inspiring music. She sang the popular number “Yochana”
(Darbar) briskly.
Her alapana in Jaganmohini was enticing. It instantly kindled
the excitement among the rasikas, who were eager to know what
would follow next. She sang a Tyagaraja krit “Mamava Satatam,”
which is sprinkled with some fine lyrics. Her alapana in Madhyma
Varali provided the listeners a new experience. Narayan Tirtha’s
“Narayana Namo Madhavaya” in Kanda Chapu talam fell
pleasantly on the ears.
A Tamil composition “Jnana Sabayil Tillai”(Saranga)
was sung with poise. Nithyashree then went on to present “Kayarohaesham”
(Karnataka Devagandari). This raga sounded like raga Abheri.
Nityashree took the popular and pleasing raga Mohanam for an
elaborate treatment. Mohanam shone with radiance as she explored
it remarkably. She then chose ``Nannu Palimpa” (Tyagaraja)
for a fine rendition. Late M.L.Vasanthakumari had made this
kriti very popular. Nityashree made this kriti richer by her
own style of rendition. She did a niraval at “Karamuna
Sara Kodanda Kantito,” interspersing it with swaras and
perfect rhythms.
Nityashree served an interesting piece “Ganarasam Navarasabhavam”
during her concert. She gave expression to the Navarasa –
Adbutha, Sringara, Karuna, Hasya, Raudra, Vira, Bayanakam, Bipatsu
and Shantha with distinct ragas such as Atana, Sahana, Maand,
Revati, Mohanam and Bagyashree etc. This is composed by her
mother Lalitha Sivakumar. Nityashree took raga Dharmavathy for
a good expansion during the RTP (ragam, thalam and pallavi)
phase. She portrayed the raga well with her majestic voice.
She took for pallavi line “Arul Puriya Uriya Tarunam Illaiya
Dayavillaya Murugaiyya,” which was set to Kanda Jathi
triputa talam. She transited to ragas Bauli, Kanada, Chandrakauns,
Jansammodini and reversed back to the original raga with quite
a vigour. It was a good exercise by the artiste. She sang a
few tukkadas “Sayeeram” (Vasanti), a Javali, Chelinenetlu
(Paras) and a fitting ragamalika Tillana.
Violinist Usha Rajagopal played neat strokes with her bow. Ghatam
Karthick was extremely good and gave the right percussion support
to the artiste. I.Sivakumar on Mridangam played neatly, making
the concert a success.
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