Mahathi performing at Mudhra’s margazhi season 2022.
| Photo Credit: Special Arrangement
Many changes have occurred in the practice of classical arts during the last century, some of them salutary. One of them definitely is the rise in the number of competent young artistes. Whatever is preventing its progress has to be eliminated to be in tune with the demands of a changing society. There has been a huge increase in the number of young artistes offering recitals.
These competent elements were noticeable in S. Mahathi’s concert for Mudhra recently. She has a voice that works to her advantage. She appeared totally at ease with grahabedham when she brought out Thodi from Sankarabharanam by just shifting the aadhara sruthi. She came up with inspiring swaroopas of ragas such as Vasantha and Sankarabharanam. The alapana of the latter carried exciting, fresh patterns.
Violinist H.N. Bhaskar showcased the raga with a refreshing vitality. The chosen kriti was the rarely heard ‘Manathirkkisaintha manavalan’ by Harikesanallur Muthaiah Bhagavatar on Subramanya. The composition has a pleasant musical architecture that fitted in well with Mahathi’s improvisation. The niraval at the charanam ‘Amarar dhinam panindu archirkkum paadam’, and the kalpanaswaras at the pallavi brought out several emotive aspects of the raga through charming voice modulations. The rhythmic variations in ga-ma-paa-ma-ga, ri-ga-saa-ri-ga and the swara exchanges between her and the violin artiste were brilliant.
N.C. Bharadhwaj (mridangam) and Aniruddh Athreya (kanjira) struck a wonderful partnership right from the beginning, especially in the tani.
In the exhaustive elucidation of Vasantha, Mahathi succeeded in interweaving swara patterns, bringing out the raga’s essence. Again, Bhaskar offered a spirited support. In ‘Harihara puthram’ (Khanda Ekam) by Dikshitar, the swaraprastara was at the pallavi.
Mahathi began the concert with the Ritigowla Ata tala varnam ‘Vanajakshi’ by Veena Kuppaiyer, and then went on to craft a majestic Jayantasena alapana. Tyagaraja’s ‘Vinathasutha vahana’ in Desadi tala is on the Lord mounted on Garuda (the son of Vinatha). The saint-composer had a vision of Rama and described it as a grand spectacle.
‘Nirupama Sundarakara’ in Pantuvarali (Adi, Tisra nadai) is a favourite of her guru T.N. Seshagopalan. This composition by Oothukkadu Venkata Subbaiyer has a unique structure with a radiant chatusra nadai in the charanam.
Another interesting piece that Mahathi offered in her concert was a Bagesri Malayalam song ‘Bhajanam cheivin krishna paadam’ by Mahakavi Kuttamath. The music was set by Cherthala Gopalan Nair. She wound up her concert with the popular Kuntalavarali thillana by M. Balamuralikrishna.
