The distinctive section of the concert was a comprehensive essay of raga Khambodi followed by Dikshitar’s peerless ‘Sri Subrahmanyaya Namaste.’ Mahathi’s raga elaboration offered the usual, but her inventive touches lent elegance.
The noteworthy quality of Mahathi’s raga expositions was the judicious blend of karvais and brigas.
The quality of vocalist Mahathi’s concert shows her astuteness in the choice of kritis, the raga essaying style, her rendition ability, and aesthetics of swarakalpana.
Mysore V. Srikanth responded with fine touches in the raga essays and clever combinations in swaras.
Mahathi’s Malayamarutham raga treatise mostly traversed in the middle and upper regions.
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