Music may be for the ear or for the mind. S Mahathi’s melody is for the soul. Her forenoon concert was the very definition of good music. Though a renowned playback artist, her recital was wholly classical. Bestowed with a superb voice, she could present an immaculate and expansive Madhyamavathi alapana. It covered every nook and corner of this deep refrain. Her sruthibhedam (extracting a lovely Hindolam from out of the notes of Madhyamavati) was effortless, yet musical. Melakkavery Thyagarajan on the violin also offered the very essence of the raga in his delineation. ‘Venkatesa Ninu,’ of Tyagaraja came off well. Swaras were at the pallavi itself. Arjun Narasimhan (U.S.) on the mridangam and Tiruchi Krishna (ghatam) provided a handsome Thani. The 15-year old, left handed Arjun, the discovery of the year, played like a seasoned artist. He is precise in the support role as well. At least a portion of the credit should go to his guru, Subhash Chandran.
Mahathi commenced her appealing concert with the Ata Tala varnam of Swathi Thirunal in Sankarabharanam. After an expansive alapana in Kokilapriya (11{+t}{+h} Melakartha), she rendered Dikshitar’s ‘Kothandaramam.’ The extensive kalpanaswaras were at ‘Vedantha Vedyam’ (Madhyama kaala). Oothukkadu’s ‘Kannallavo Swami’ in Suratti was steeped in melody.
Kumudakriya was another raga presented. Its alapana brought out each and every contour of this charming raga. ‘Ardha Naareeswaram’ of Dikshitar, on the deity in Thiruchengode, was well rendered. Swaras were at ‘Aagamaadhi Sannutham.’
Bharati’s ‘Aduvome Pallu Paduvome’ was a neat rendition. Mahathi concluded her recital with a Chandrakauns Thillana – a composition of her guru, Madurai T.N. Seshagopalan. Mahathi’s concert – one of the best this critic had a chance to listen to, this season – demonstrated her technical competence and aesthetic perfection.
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