A class act

Teenager Kartika learned from many gurus, including Hyderabadi brothers Seshachari and Raghavachari, and got advanced training from T. R. Subramanian of Chennai.

The sum total of these tutelages appears to have brought a significant change in her approach and performance in the rendition of ragas, kirtana, sangaties and other technical features that fashion the concert. Her voice is quite commanding. As a child prodigy, she received the Bala Sri award from the President of India. Today, her presentation style bears authenticity with rich manodharma.

These traits were noticed in the performance she gave for the South Indian Cultural Association (SICA) last week at Ravindra Bharati conference hall as part of the sabha’s “young talents promotional” venture.

She was accompanied by another young pair, Peri Thyagaraju on the violin and Burra Sriram on the mridangam.

She opened her concert with a traditional Navaragamalika Varnam in two speeds. This was followed by Nenarunchara of Thyagaraja in rare Simha Vauhini. Brochevarevarura in Sriranjani was the next number she pleasantly rendered. Srivallabha in Suddhadhanyasi was marked by a brisk swaraprasthara.

Kalyani was the first full-fledged raga effort, which she essayed with care. Amma Ravamma was her choice number in this with neravu and swarakalpana. After Sarasa Mukhi Sakala Bhagya, she went for Parvathi Ninnu Ne Neranammiti of Shyama Sastry in Kalagada, a neat presentation. The major number of Kartika was the Kharaharapriya piece, Rama Nee Samanamevaru, of Thyagaraja. The raga delineation and the neravu and swara kalpana in the kriti part spoke of her potential like any mature artiste.

This was the number in which Burra Sriram presented Tani Avartanam neatly. Thyagaraju’s versions of Kalyani and kharaharapriya were laudable. The latter part was marked by a Tamil composition, Taye Yasoda, in Kapi and a kuranji tillana.

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