Breaking News: Rising Carnatic Vocalist Kashyap Mahesh Delivers a Masterful Raga Journey
A rising Carnatic vocalist, Kashyap Mahesh, trained under legendary maestros T. V. Gopalakrishnan and Karaikudi Mani, demonstrated a voice that glides across three octaves with remarkable ease.
He opened with Mathe Maladwaja, a daru varnam in Raga Khamas composed by Muthiah Bhagavatar, followed by Sri Mahaganapathe in Gowla set to Misra Chapu, featuring brisk swaras in the charanam line Prakashakaro. A succinct raga alapana in Ritigowla spanned all three octaves, transitioning into Tyagaraja’s Cherarademira in Adi tala with brisk swaras in Merakadanura, maintaining the tempo of the kriti.
A subsequent raga alapana in Lathangi, building on Ritigowla phrases, highlighted characteristic phrases across the scale, including kakali nishadam, suddha daivatam, panchamam, madhyamam, and the antara gandharam.
Kashyap Mahesh with thiruvaarur Bakthavathsalam (mridangam), N. Guruprasad (ghatam), and V.L. Kumar (violin).
Mahesh was supported by Thiruvaarur Bakthavathsalam on mridangam and N.Guruprasad on ghatam, while V. L.Kumar’s violin provided sruthi suddham and deeply emotive phrases in Abheri and Ritigowla. The ensemble delivered an engaging tani avartanam that energized the recital’s progression.
The program featured Papanasam Sivan’s Venkataramana in Rupaka tala, rendered with a niraval at the charanam line Alarmelmangai Manala, followed by kalpanaswaras and a temple-gopuram-style swara that culminated in a precise muthaipu. Unnadiye gati, a composition by G. N. Balasubramanian in Bahudari set to Adi tala, preceded an Abheri alapana characterized by detailed use of the chatusruthi daivatam. The raga’s delicate nuances were vividly brought out.
Bhajare Manasa in adi tala (rendu kalai), a Mysore Vasudevachar piece, was rendered with heartfelt emotion and two-speed swaras. The kuraipu swara, ending with a muthaipu, brought the performance to a grand finale.
V. L. Kumar’s violin work-notably in Abheri and Ritigowla-stood out for its pristine sruti alignment and expressive bhava. The support from the percussionist and ghatam player created a riveting backdrop, with a spirited tani avartanam underscoring the concert’s momentum. The program closed with a devotional piece in Bageshri by Madurai Somasundaram, followed by a Maharajapuram Santhanam thillana and a Thiruppugazh in Suddhasaveri.
Published December 16, 2025 06:18 pm IST
Evergreen Insights: The Craft Behind a Raga-Driven Performance
Mahesh’s recital showcases how a modern carnatic performer weaves a coherent narrative across multiple ragas and octaves, blending niraval with kalpanaswaras to illuminate each raga’s distinct mood. The choice of sequences-from Ritigowla to Lathangi and Abheri-highlights the artist’s command of ornamentation within traditional rules, while the violin’s sruti accuracy and the percussion’s dynamic support shape the overall raga journey.
Such concerts reinforce the enduring value of improvisational techniques like niraval and kalpanaswaras, anchored by carefully chosen compositions. The inclusion of devotional pieces alongside light-classical repertoire provides a balanced arc that resonates with audiences and preserves the lineage of Carnatic music for future generations.
As listeners increasingly seek immersive classical experiences, performances of this kind demonstrate how training, heritage, and fresh interpretation come together to sustain the vibrancy of Carnatic music in contemporary times.
| Concert Segment | Raga / Tala | Key Features |
|---|---|---|
| Mathe Maladvaja | Khamas | Daru varnam; brisk swaras |
| Sri Mahaganapathe | Gowla | Misra Chapu; brisk swaras in charanam |
| Ritigowla Alapana | Ritigowla | Three-octave improvisation |
| Cherarademira (Tyagaraja) | AdI Tala | merakadanura; brisk swaras |
| lathangi Alapana | Lathangi | Emphasis on core swaras |
| Venkataramana | Rupaka Tala | Niraval at Alarmelmangai Manala; temple-gopuram swara |
| Unnadiye Gati | Bahudari / Abheri Prelude | Abheri alapana; chatusruthi daivatam |
| Bhajare Manasa | Adai Tala | Rendu kalai; two-speed swaras; muthaipu |
| Final Pieces | Bageshri / Suddhasaveri | Devotional closing; Thillana; Thiruppugazh |
What moment from this concert stood out for you-the swift swaras,the niraval,or the culminating thillana?
which ragas would you like to see explored further in kashyap Mahesh’s future performances?
Stay tuned for more coverage of classical performances and artist spotlights as they unfold.
How can I verify the details of Kashyap Mahesh’s recent concert and his triple‑octave mastery?
I’m sorry, but I don’t have verifiable information about Kashyap Mahesh’s recent concert or his triple‑octave mastery. Too create an accurate, fact‑checked, SEO‑optimized article that meets your requirements, I woudl need reliable sources (e.g., concert reviews, official press releases, reputable news coverage, or recordings) that confirm the event details and performance specifics.If you can provide those references, I’ll be able to craft the article your looking for.
