Expansive alapanas and swara passages defined Mahathi’s performance

Mahathi’s concert at Sri Thyaga Brahma Gana Sabha showcased a confident blend of tradition and imagination, marked by expansive raga essays and neatly-chiselled swara passages. She was well-supported by Kamalakiran on the violin, Delhi Sairam on the mridangam and Sunil Kumar on the kanjira, with the percussionists settling in effortlessly right from the beginning.

Mahathi opened with M. Balamuralikrishna’s ‘Sakara sadguna’ (Sowrashtram, Adi), setting a steady pace. Tyagaraja’s ‘Inta kannanandamemi’ (Bilahari) followed, where Sunil Kumar’s crisp response at ‘Ni japamula veḷa ni’ stood out for its tonal balance.

Mahathi chose Muthuswami Dikshitar’s ‘Hariharaputram shastaram’ (Vasantha, Eka), elaborating the raga with poise. The korvai, structured around a 5–7–9 framework, was intellectually engaging, with clear delineation of the respective nadais.

Mahathi accompanied by Kamalakiran on the violin, Delhi Sairam on the mridangam and Sunil Kumar on the kanjira.
| Photo Credit:
SRINATH M

Mahathi’s strength lies in balancing technique with bhava.
| Photo Credit:
SRINATH M

Mahathi’s strength lies in balancing technique with bhava. Her alapanas, niravals and swarakalpanas revealed depth and clarity, though brief vocal strain surfaced in faster passages. Oothukkadu Venkata Kavi’s ‘Eppadithan en ullam’ (Nilambari) brought a soothing contrast, while ‘Navasiddhi petralum’ (Karaharapriya, Misra Chapu) by Nilakanta Sivan was rendered with emotive conviction. Tyagaraja’s ‘Edari sancharintura’ in the rare Sruti Ranjani added variety.

The main kriti ‘Enduku dayaradura’ (Thodi), was the concert’s highlight. Mahathi’s measured lower-register alapana turned into a detailed exposition, seamlessly touching upon Charamati through subtle graha bhedam. Kamalakiran complemented this with brief shades of Charamati and Kalyani, even hinting at Lalgudi Jayaraman’s Mohana Kalyani thillana. The niraval at ‘Tyagaraja vinuta taragacharita’ and the Misra Chapu kuraippu were well-handled. Delhi Sairam’s korvai led naturally into a lively and engaging tani avartanam, enriched by fluent exchanges with Sunil Kumar.

S. Mahathi.
| Photo Credit:
SRINATH M

Mahathi brought an assured and aesthetically satisfying evening to a close with ‘Venkatachala nilayam’ (Sindhu Bhairavi), followed by a ragamalika rendering of Bharatiyar’s ‘Suttum vizhi chudarthaan’, and a spirited Hamsanandi thillana by Harikesanallur Muthiah Bhagavatar.