Periyasami Tooran’s “Gana Nadhane” in the raga Saranga included lively swaraprastaras. While presenting N.S. Chidambaram’s “Isai padi” in raga Charukesi, Mohan paid utmost importance to the lyrics. Gopalakrishna Bharati’s piece from “Nandanar Charitram” in raga Natakurinji underwent similar treatment. The usage of imaginative niraval enhanced the songs. The main piece of Mohan’s recital was “Thamadam Yen Swami” in raga Todi. His alap and swara patterns here were note worthy.

Mohan Santhanam sang with unflagging energy. After the Ata tala varnam in Kalyani, Mohan took up ‘Sobillu Sapthaswara’ followed by racy and imaginative swarakalpana. The Reetigolwa kriti ‘Enna Punniyam’ was well emoted. His alapana of Khambodi had some classical prayogams. The alapana was particularly attractive at mandrasthayi. The main piece was a Ragam, Tanam, Pallavi in Thodi set to kandajathi triputa tala with the little finger as the samam. The alapana, sung in two segments, was commendable.

The main concentration was on two ragas - Thodi and Janaranjani. Touching the pivotal swaras he gave a wholesome picture of the raga Thodi and followed it with an evocative "jesinadella". He sprang a surprise by selecting Janaranjani for the alapana and thana. The pallavi (Jananaranjani, bhavabhanjani, shiva mohini) lent a convincing imagery of the melody and concluded the concert with a fine thillana of Lalgudi Jayaraman.

Mohan Santhanam's vocal concert at the Swagatham Margazhi Sangeetha Vizha at Bharat Kalachar was both entertaining and profound in terms of content. The singer's sub-major Gamakakriya exposition was a good prelude to Muthuswami Dikshitar's "Meenakshi Memudam."
The Ragam Tanam Pallavi in Bhairavi was intentionally complex with a neat tanam and a crisp pallavi set in kanda jathi triputa talam, tisra nadai.

Mohan Santhanam's music is imbued with a sense of purpose and a spirit of inquiry that stems from a strong commitment to lasting values. This approach enables him to view the larger picture, be it in raga alapana, kriti rendition or swara improvisation.
The 14th melakartha raga, Vakulabharanam, is not often taken up for elaboration. The artiste navigated the terrain with skill and caution, taking pains to present an accurate picture. Languorous glides and graceful jarus heightened the pathos inherent in the raga and in the Tyagaraja kriti "E Ramuni" (Misra chapu).

Mohan Santhanam made a helpful gesture by not only mentioning the name of the Melaraga Nasikabhushani, which he elaborated in an impressive manner, and a rare Sankarabharana janya raga Sindhumandari, but also by singing their arohana-avarohana for the benefit of the audience. In the former he sang "Thandarul Aiyya" of Koteeswara Iyer. Sindhumandari sounded somewhat similar to Kadhanakuthuhalam and the Patnam Subramania Iyer Kriti "Karuninchutaki" had lively chittaswaram, which would be very apt for instrumental music. The elaboration of Sankarabharanam by both Santhanam and the violinist was good. The main raga was Subhapantuvarali. The alapana was suitably plaintive and the Dikshitar kriti, "Sri Satyanarayanam," was rendered with some poignant touches followed by a spirited swaraprastharam.

Mohan's choice of compositions for his concert at Hamsadhvani was exquisite - Deva munivar thozhum Shanmukhapriya Padavarnam of Lalgudi Jayaraman, Ninnada nela in Kannada followed by a brief precis of Todi and Aragimpave of Thyagaraja and a Ragam-Tanam-Pallavi of two tricky melodies Nalinakanti and
Kalyanavasantham in Khanda triputa tala.

The heavyweight Todi was underplayed while breezy ragas like Karnaranjani, Nalinakanti, Kalyanavasantham and chala Nattai were given greater significance without any compromise on quality. It was indeed interesting as the ragas chosen had enough depth and melody. Mohan's enthusiastic
efforts to detail Chala Nattai (Yedayya gati by Koteeswara Iyer) and swara sessions for of RTP and Vanchatonu (Karna RAnjana) espeically made the listenere sit up.

Singing ragas of vivadhi swaras is a testing experiment for the vocalist's ability. Mohan proved that diligence and sincerity could make this possible. His spirited elaboration of Nasikabhushani (Tandarul iyya kandane) would have been a treat to the rasikas on that day.

Todi is not only the most easily identifiable raga but it also offers immense scope for alapana, provided the artiste has imaginatiove prowess. Mohan Santhanam exploited this raga to full advantage and after step-by-step alapana sang Dikshitar's matchless "Shri Krishnam bhajamanasa" in the correct patanthara, at his Hamsadhvani concert.

There was a certain breeziness in Mohan Santhanam's concert. "Kailasanathena" was preluded by an expansive Khamboji alapana. So was Suddha Dhanyasi for Swati Tirunal's "Samodam". The neraval and swaras at "Deenabanduvani", the charanam in Tyagaraja's "Emineramo", found the artiste in peak form and he sang most inspiringly.

Mohan Santhanam, in his performance for Raja Annamalaipuram Bhaktha Jana Sabha in Chennai recently paid heed to the lyrical importance of the kriti of Tamil composer-scholar Gopalakrishan Bharati….. Mohan brought out the essence in his rendering of the emotionally charged composition "Vazhi Maraithirukkude" with perfect understanding and an excellent prelude of Natakurunji alapana.

A lively fare of traditional numbers was served recently at the Tyagaraja Sangeetha Vidwat Samajam, Mylapore by Mohan Santhanam……O Ranga Sayee in Kambhoji was the mainstay of the evening. This chowka kalam (slow tempo) piece was rendered with poise and virtuosity. The alapana, niraval and swaram were foolproof of the vocalist's sincere sadhana (practice)……

Mohan Santhanam has a vibrant voice with good control over it. It goes over two octaves comfortably with gamaka and brigha sancharas. Nalinakanti's delineation was marked with proficiency….Bhairavi was the major raga - Mohan displayed with enchanting new phrases and novel sancharas…..