S. Mahathi was totally at home in the portrayal of Gangeyabhooshani through an elaborate elucidation. Mysore V. Srikanth on the violin depicted an equally melodic alapana. In Tyagaraja’s ‘Evvare Ramayya,’ the swaras with charming symmetry were at the pallavi itself. In Kannada, she rendered Oothukkadu’s attractive ‘Sonnalozhiya,’ creating the apt mood.
Mahathi presented a detailed alapana in Bhairavi, exploiting its full scope for improvisation, as a prelude to Swati Tirunal’s Navaratri kriti ‘Janani Mamava’ in Misra Chapu. Her expertise in laya intricacies was evident in the swaraprasthara. She took up Shanmukhapriya for RTP. The tanam had a spiralling element of verve and vigour. The pallavi, ‘Saravanabhava’ in Khanda Triputai had ragamalika swaras in Valaji, Revathi and Behag. Patri Satish Kumar (mridangam) and Tiruchi Krishnaswamy (ghatam) offered a sparkling thani.
Mahathi’s concert opened with Muthaiah Bhagavatar’s Khamas Daru Varnam, ‘Mathe Malayadhwaja.’ She commenced Tyagaraja’s ‘Varanaradha' in Vijayasri at the lively anupallavi. Surdas bhajan, ‘Gopi Gopala Lala’ in Gamanasramam and the Dwijavanti thillana of M. Balamuralikrishna brought her concert to an end. Brigas that came at a lightning speed and raga ensembles brought out her insatiable appetite for creativity.
Click on the respective venues to read about concerts performed there.
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