Excerpts from a concert held in January 2013 in Guntur, AP:
Other Links https://soundcloud.com/#mohan-santhanam www.youtube.com/watch?v=IXvjtHl9XAY
Safeguarding a rich musical tradition- The Hindu, Chennai 2014
Chennai-based Carnatic vocalist Mohan Santhanam will perform here on wednesday under the auspices of Sree Thyagrabrahma Sangeetha Sabha..
The complete review at:    http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview
Charming treatise of Kedaragowla- The Hindu, Chennai 2014
Mohan Santhanam seems to focus on rare ragas that are less used for expansion. G. Swaminathan
The complete review at:    http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/charming-
Rich vocals, the pivot - The Hindu, Chennai, Dec 21, 2012:
Mohan has a sonorous voice that traverses the lower sthayi without any strain. His innovative skill was at its best in the raga alapana of Pavani, the 41st Melakartha. He did it with effortless ease. Kotiswara Iyer’s beautiful kriti, ‘Anjathe Nenjame’ in Misra Chapu was exquisitely rendered. The Kuntalavarali elucidation was equally rich and had a variety of rare sancharas. Swati Tirunal’s ‘Bhogindra Sayinam’ was another soulful rendition.
The complete review at:    http://www.thehindu.com/arts/music/rich-vocals-the-pivot/article4222094.ece
Dynamism On Show - The Hindu, Chennai, Jan 18, 2012:
At the fag end of the Chennai's magnificent music season, artists were bound to lose energy and momentum. But Mohan Santhanam did not. His rescheduled concert (thanks to Thane) was quite dynamic. As a musician who comprehends the significance of emphasising the import of the ragas chosen, Mohan performed with passion.
The complete review at:    http://www.thehindu.com/arts/music/article2810600.ece
A Skilful Rendition - The Hindu, Visakhapatnam, Jul 28, 2011:
Distinguished disciple of T.R. Subramanian, winner of many prizes awarded by Madras Music Academy, Sri Krishna Gana Sabha and other institutions, graded artiste of AIR and widely sought after vocalist, Mohana Santhanam (Chennai) was featured by Visakha Music Academy at Kalabharathi, Vishakapatnam, last Sunday for his vocal recital. Knowledgeably and most amiably supported on violin by I. Dinakar from Hyderabad, splendidly and sublimely on mridangam by M.L.N. Raju from Vijayawada and ably on ghatam by M. Haribabu from Guntur, he rendered a thoughtful and soberly evocative recital.
The complete review at:   http://www.thehindu.com/arts/music/article2302001.ece
Mixing Boldness with Industry - The Hindu, Chennai, Dec 15, 2010:
 Mohan Santhanam made his point. The alapana for Janaranjani showed his hard work and his choice of the less-sung Syama Sastri's ‘Nannu Brova Radha Amba-O-Jagadhambha,' signalled that he combined both boldness and industry.
The complete review at:    http://www.thehindu.com/arts/music/article952178.ece
Swift exploration of ragas - - The Hindu, Chennai, Jul 30, 2010:
Mohan Santhanam’s vocal concert at Hamsadhwani warmed up with an array of kritis in quick progression — ‘Vanajaksha’ (Ritigowla Ata Tala varnam), ‘Maha Ganapathim’ (Nattai), ‘Sobillu Sapthaswara’ (Jaganmohini) with swaras, ‘Endaro Mahanubhavulu’ (Sri) and ‘Sakala Grahapala’ (Atana) before detailing Simhendramadhyamam.
Oothukadu Venkatakavi’s ‘Asainthadum Mayil Ondru’ had the necessary lilt with sketchy niraval and swaras. Those who are familiar with Mohan Santhanam’s music will be aware of his penchant for novel exploits. Therefore, a raga like Simhendramadhyamam that offers much scope for expansion was given just a quick wrap up and he moved on to the alapana of Navarasakannada as a prelude to Tyagaraja’s ‘Ninnu Vina Nama.’
The complete review at:   http://www.thehindu.com/arts/music/article540237.ece
Rendered With Confidence - The Hindu, Chennai, Dec 11, 2009:
Swagatham Margazhi Sangeetha Vizha hosted by Bharath Kalachar at YGP Auditorium, T. Nagar, featured Mohan Santhanam in a two-hour vocal recital.
Mohan has a voice that rests and traverses at the lower registers without any element of ambiguity. His innovative mind was in fine action as he gave a few-phrased alapana in Garudadhwani for Tyagaraja's ‘Tathvameruga' and then followed it up with swaras that were arranged in both kalams that retained the essence of the raga.
His alapanas for Nattakurinji and Thodi (‘Sri Krishnam,' Dikshithar) were marked by strict adherence to grammatical requirements. The Nattakurinji song, ‘Naa Chey Vidavaku Raa' (Mysore Vasudevachar) was a kriti not much known or sung and Mohan showed a sufficient degree of confidence in rendering it, with a niraval at ‘Deva Deva Sri Vasudeva Maha Deva Vinutha.'
The complete review at:   http://beta.thehindu.com/arts/music/article63443.ece
Traditional Rendition - The Hindu, Hyderabad, Oct 02, 2009
Kala Sagaram featured an impressive vocal recital by Mohan Santanam at Keyes High School as part of its monthly concert. He was accompanied by Dinakar on the violin, Aravind on the mridangam and Kapa Srinivas on the kanjeera. Mohan Santanam who is an established vocalist in Chennai is the disciple of T.R.Subramanyam. Thyagaraja’s second pancharathnam Duduku gala in Gowla was a good choice to follow. Begada was chosen next for a detailed essay of the ragam. Santhanam brought out the text of the ragam with a traditional approach for Manasuna nera nammithi a rare composition of Patnam in Rupakam.
The complete review at:   http://www.hindu.com/fr/2009/10/02/stories/2009100250410300.htm
Marked by Dignity – The Hindu, Chennai, Jan 16, 2009:
Mohan Santhanam’s vocal concert for R.A. Puram Bhakta Jana Sabha was a treatise by the artist on relishing of ragas and kritis for their depth and dignity. He had almost sidelined the torrents of swaras and aerobics in raga vinyasa. Not only were Mohan’s choices pleasing but also done with wisdom. Mohan demonstrated his faith in the native strength of each raga and kriti and presented them through delicate articulation without resorting to any form of overkill.
The complete review at:   The Hindu : Friday Review Chennai / Music : Marked by dignity
Scholarly Varali – The Hindu, Trichy, Dec 14, 2007:
Endowed with a rich, baritone voice eminently suitable for Carnatic music, Mohan Santhanam performed at the FGN Auditorium under the “Eppadi Padinaro” series in conjunction with the Federation of Culture and Arts and Rasika Ranjana Sabha, Tiruchi.
The first raga rendition of the evening was Varali. Mohan meticulously drew a scholarly picture of the alapana, skilfully including many phrases that are often heard only on the nagaswaram. Tyagaraja’s less heard ‘Maragatha mani varna’ was given a convincing interpretation. The swaraprasthara was fluent and effortless with a lively kuraippu following Tyagaraja’s “Chentane sada” (Adi) in Kuntalavarali which had a sparkling chittaswaram as well. A rare sighting included Kotiswara Iyer’s ‘Singaara Kumaara’ in the raga Varunapriya, handled with due reverence.
The main raga of the evening was Sankarabharanam which held its own with Muthuswami Dikshitar’s masterpiece, ‘Akshayalinga vibho’ exploiting the scope afforded for higher aesthetics with an interestingly different line being chosen for an expansive niraval.
The complete review at:   http://www.hindu.com/fr/2007/12/14/stories/2007121450710300.htm
Both Profound and Entertaining - The Hindu, Dec 08, 2006:
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.
The complete review at:   The Hindu : Friday Review Chennai / Music : Both profound and ...
Gets the Right Perspective - The Hindu, June 09, 2006:
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).
The complete review at:   http://www.hindu.com/fr/2006/06/09/stories/2006060902620600.htm
Enticing Interpretations - The Hindu, Dec 28, 2005:
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.
The complete review at:   The Hindu : Music Season / Music : Enticing interpretations