The curtain-raiser was a not-so-often rendered Varnam in Charukesi - Innum Enmanam Ariyatha - by Lalgudi Jayaraman. The following piece was a composition in Kalavathi by Tyagaraja. – Okkapari. Her breezy rendition of swaras gave a personal identity to the concert. Her swaras were like a musical thunder and resonated in the jam-packed hall. 

Nithya’s elaborate Reethi Gowlai – for Nannuvidachi - was like sailing in the placid waters of the Cauvery. 

Her exquisite Neethimathi for Koteeswara Iyer’s Mohana Hara Kara was a blend of idealism and skill. She communicated the nuances of the raga with élan. Her niraval and swaras revealed her creative skill. 

The piece de resistance was Mohanam. Her rendition of Rararajeevalochana by Mysore Vasudevachariar was an aural treat. 

She made the audience spellbound with her alapana of Mohanam when she explored the varied facets of the raga. 

She created a niche in the hearts of rasikas with vibrant and sparkling swara passages which made us wonder whether Mohanam has got such a splendid hue. Her fertile imagination in rendering the swaras and ragas reflects her musical upbringing. She has inherited the musical acumen of her grandmother, doyen D K Pattamal. 

Nithya’s rendition of Purandaradasar’s ragamalika - Naanellu - in Ranjani Kanada had an aesthetic appeal. 

Violinist M A Krishnaswamy mirrored her phrase for phrase. His vinyasa of all the ragas was commendable. 

I Sivakumar, her father on the mridangam, played with an appreciable level of synergy. 

Sivaramakrishnan on the ghatam was very supportive. 

V V S Manian on the kanjira gave a melodic touch to the concert. 

The tani of the trio was classical to the core and had creative flourishes.

Mira