As we walked somewhat late into the auditorium, he was in the final throes of the neraval for Bhajana Seyya Radha. For a 2pm concert in an auditorium without a/c, the audience members were wide awake and attentively enjoying the concert, probably basking in the abundant energy that he was providing from stage. He followed this with a fabulous Rasikapriya, smirking all the way through the alapana with every teevra note, and then sang Arul Seyya vendum aiya. A fast vidamu seyyave in kharaharapriya with a neraval at rajaraja was witness to some of the aforementioned skirmishes.
With the exuberance of an 8 year old newly gifted with a yoyo, he took up Mohanam for the main. After demonstrating amply the vast vista afforded by the pentantonic raga as if to conclusively prove that the number of notes in a raga is of no consequence to its scope, he presented the Narayana theertha composition, Kshemam kuru gopala. My teenage daughters were wondering aloud if he would have been a better choice to play the lead in Anniyan
He concluded with a ragamalika slokam in chaste sanskrit on Ramanujar, "Chaithradho Sambhavam" and acknowledged the presence of the composer in the audience followed by the ragamalika tiruppugazh Eru mayil eri.
Ambikaprasad on the violin provided sterling support. Varadhan was on the mridangam and have not heard him before this. Together with Nerkundram Shankar on the kanjira, they performed very well as a team.