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Nityashree casts a magical
spell
By Sudha Jagannathan
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Nithyashree Mahadevan gave
a dazzling concert on the evening of January 1,
2008 at Parthasarathy Swami Sabha. Nithyashree entertained
the audience for close to 200 minutes with a splendid
variety one could ever imagine. She was in top form
on this evening.
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After her three-and-a-quarter-hour
concert, Nithyashree still appeared fresh. And,
the audience, too, yearned for more music from her.
She struck a good rapport with the audience, and
kept them under "voice arrest"’
with some inspiring music. She sang the popular
number “Yochana” (Darbar) briskly.
Her alapana in Jaganmohini was enticing. It instantly
kindled the excitement among the rasikas, who were
eager to know what would follow next. She sang a
Tyagaraja krit “Mamava Satatam,” which
is sprinkled with some fine lyrics. Her alapana
in Madhyma Varali provided the listeners a new experience.
Narayan Tirtha’s “Narayana Namo Madhavaya”
in Kanda Chapu talam fell pleasantly on the ears.
A Tamil composition “Jnana Sabayil Tillai”(Saranga)
was sung with poise. Nithyashree then went on to
present “Kayarohaesham” (Karnataka Devagandari).
This raga sounded like raga Abheri. Nityashree took
the popular and pleasing raga Mohanam for an elaborate
treatment. Mohanam shone with radiance as she explored
it remarkably. She then chose ``Nannu Palimpa”
(Tyagaraja) for a fine rendition. Late M.L.Vasanthakumari
had made this kriti very popular. Nityashree made
this kriti richer by her own style of rendition.
She did a niraval at “Karamuna Sara Kodanda
Kantito,” interspersing it with swaras and
perfect rhythms.
Nityashree served an interesting piece “Ganarasam
Navarasabhavam” during her concert. She gave
expression to the Navarasa – Adbutha, Sringara,
Karuna, Hasya, Raudra, Vira, Bayanakam, Bipatsu
and Shantha with distinct ragas such as Atana, Sahana,
Maand, Revati, Mohanam and Bagyashree etc. This
is composed by her mother Lalitha Sivakumar. Nityashree
took raga Dharmavathy for a good expansion during
the RTP (ragam, thalam and pallavi) phase. She portrayed
the raga well with her majestic voice. She took
for pallavi line “Arul Puriya Uriya Tarunam
Illaiya Dayavillaya Murugaiyya,” which was
set to Kanda Jathi triputa talam. She transited
to ragas Bauli, Kanada, Chandrakauns, Jansammodini
and reversed back to the original raga with quite
a vigour. It was a good exercise by the artiste.
She sang a few tukkadas “Sayeeram” (Vasanti),
a Javali, Chelinenetlu (Paras) and a fitting ragamalika
Tillana.
Violinist Usha Rajagopal played neat strokes with
her bow. Ghatam Karthick was extremely good and
gave the right percussion support to the artiste.
I.Sivakumar on Mridangam played neatly, making the
concert a success.
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