Nithyasree Mahadevan is a prime example of adherence to time-honoured concert principles. It was a well-constructed programme, no frills and thrills, conventional articulation of ragas and a good blend of creative laya displays and disciplined pathanthara-based kriti rendition. She does not give herself to too much experimental temptations. Her concert underlined this yet again.
One felt her confident style was back with the old charm fully in place. Yet, in times of changes, it would be in the fitness of things that she found ways to evolve her music from the feeling of ‘sameness’ to new shades that would include calibrated experiments and newer emotive experiences — a musical facelift, if that is the word.
Nattakurinji varnam ‘Chalamela’ and ‘Janaki Ramana’ in Suddha Seemanthini were unremarkable. The accent seemed to be on navigating to calmer waters. Melody started flowing from Kapi (‘Intha
sowkhyamani’). Nithyasree showed the essential grammar for singing Kapi as a main piece, with sustained karvais at each step. The briga exercises paled in comparison to the soothing karvais.
‘Sri Venkata Girisam’ (Suruti, Dikshitar) that followed Kapi in a similar kalapramana and tala structure was rendered passionately but one yearned for a gear-shift at that point.
The Purvikalyani raga alapana found her at her majestic best. With a masterly repertoire of beautiful phrases, especially hovering around the madhyamam and daivatam, Nithyasree covered the full canvas expertly.
'Enneramum unnamamum uraippadu en nemam' (rare Tamil kriti of Syama Sastri) in misra chapu answered that yearning for change. The contrasting sangathis in the niraval at ‘Anbudan unnai naan’ from the alapana are ways in which Nithyasree underlined her scholarly bent.
Her extended stays with clear swara sthanam at the lower registers was a lesson that young vocalists could learn.
Chakravaham as the choice of RTP evoked great interest. Once again, Nithyasree's nonchalant ease in elaborating the raga bore out her schooling.
“Eesane Kanakasabesane Ponnambala Vasane’ were the lyrics that defined the pallavi set to simple adi talam (2 kalai). One felt Nithyasree could have added some complexity, given that laya is her strong forte.
The expected volley of one avartana swaras in about 20 ragas didn't leave enough time for the raga guessers to complete the list. There were rare ones such as Kalyanavasantham and Madhuvanti and many regulars, including the pancharatna suite.
Switching to new raga moods in seconds is something only musicians with great confidence and skill such as Nithyasree can attempt and succeed.
She thoughtfully rounded off the concert by paying obeisance to M.S. Subbulakshmi in her centenary year, with her favourite, ‘Giridhara Gopala’ in Mohanam.
M. A. Krishnaswamy did not seek prominence and largely played a supportive role. His contribution to the niraval in Purvikalyani was noteworthy.
Shertalai Ananthakrishnan also followed a similar strategy. His thani in misra chapu combining with A.S. Krishnan on morsing was engaging without gimmicky straying.
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