`More appreciation than criticism'
CHARUMATI SUPRAJA
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Nithyasree Mahadevan is back, juggling concerts and motherhood.
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VELVET VOCALS Nithyasree's life revolves around music.
With a voice that could have set film music on fire, Nithyasree Mahadevan chose to persevere in classical music. And with great effect, as the crowds that gather to listen to her will testify. Being the granddaughter of celebrated artistes Palghat Mani Iyer and D.K. Pattammal can help only so much. That she's worked hard on her personal relationship with the swaras shows in the way they follow the path she's charted out for them, within the realm of pure music.
Nithyasree's second baby is just two months old and she's busy juggling motherhood and music. Between concerts and baby feeds, she spends time with her 88-year old grandmother, who was recently awarded by the Andhra Academy. At the centre of everything is the family, says Nithyasree.
Coming from a family inclined towards music, was it a foregone conclusion that you would be a musician?
Not really. My cousins are all in different fields. My sister also learnt music but did not choose this line. My father was a cricket player besides playing mridangam. We had visitors of all sorts at home. A cricket match or some sports would always be running on TV. Even though music was everywhere in my family, it was not the only thing that filled my childhood.
So how did music take centre-stage in your life?
My interest in music definitely came from my family. I can't say there was one point when I became aware of learning or appreciating music. I used to learn by listening and visitors would encourage me to sing. They would pamper me and praise my voice. All this was just fun for me. When I was seven or eight years old, my mother sat me down and talked to me. She said that if I wanted to reach the stage that my grandparents had reached, it would take a lifetime of dedication. It would mean giving up sleep and leisure time and pursuing music. That talk had a deep impact on me. I started learning art for art's sake.
Was it your mother who brought you to the disciplined study of music?
Yes, my mother, Lalitha Sivakumar, was my first guru. The strenuous, pre-dawn practice sessions would be with amma while the afternoon singing used to happen in paati's (grandmother) presence. . When you are from a family of musicians, the greatest advantage is that you get advice, criticism and comments. My father, an eminent mridangam player , would also join in the commentary.
Did that ever make you nervous or discourage you?
No. I also used to be appreciated when I deserved it. Typically, the educative music sessions used to start around 9 p.m. and go on till midnight. Sometimes, appa would play the mridangam and I would sing.
What kind of songs have you recorded of late?
I recently released a CD called Pattamma. It has all the masterpieces sung by my grandmother. I'm now working on a CD called Krishna and another one on the gems of Thyagaraja.
Many senior male percussionists do not choose to accompany female vocalists in concerts. Is such chauvinism widespread?
The reason cited by them is that the pitch at which women sing is not suitable for the instrument. But a lot has changed over the years. To prove their mettle as percussionists, anybody would want to accompany such top artists. So this is not so much of a problem.
The pitch of your voice is high, by Carnatic music standards. How have you coped with criticism of your voice?
To be honest, I've received more appreciation than criticism. The type of voice is not as important as the expression of the voice. How you culture your voice is what is relevant. Voice is just a medium of communication for your music.
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