Anagha's mastery over syntax made it a memorable concert.Gudipoodi Srihari
Devarakonda Karteeka Anagha is a young girl, blessed with melody-filled resonant voice and fund of Carnatic grammar and knowledge that belies her child-like appearance. She just passed her schooling stage but her manodharma was classic.Presented by Sangeetha Ksheerasagaram at Thyagaraya Ganasabha's mini auditorium, her concert last weekwas of high quality. She was accompanied by N.C.Ananthakrishna on violin and K.Shyamkumar on mridanagam. Her repertoire was quite rich and had varied appeal.
Anagha opened with Mayamalavagowla varnam Sarasijanabhain Aditalam of Swathi Tirunaland followed it up with Vallabha Nayakasya of Diskshitar in Begada in Roopaka talam, presented with swarakalpana.
Suryamurte in Sowrashtra in Dhruva talam of Dikshitar again was a neat presentation. Vanchatonu in Karnaranjani in Adi-tirsragati talam of Muthayya Bhagavatar that followed was appealing. Ubhaya Kaveri a rare number in Gamanasrama of Veena Seshanna in Roopaka talam also spoke of her sense for sahitya presentation. The swarakalpana at the line Abhimanamu nunchu was a display of her manodharma.
Later Anagha took up N.Ch.Krishnamacharyulu's Gowri Sukumari in Vasantha giving it an extensive delineation. The swarakalpana at Parameswari Sankari was a skilful presentation, carrying the melodic line. Tatvameruga Tarama' in Garudadhwani of Thyagaraja was a neat offering, before she went for the main effort of the concert – a Ragam-Tanam-Pallavi (RTP) exercise in Latangi for which she devoted almost an hour. This was in Chaturasrajati Jhampe talam. The poorvangam was in Tisragati and Uttrangam was in Chaturasra Gati, a difficult presentation. The tanam part too was quite engaging. The Pallavi was divided in the same fashion taking Raja Matangi Latangi as Poorvangam and Matangi Marakatangi as Uttarangam. It turned to be a very intricate presentation in view of tala too. She met the challenge well, thus revealing her mature and intelligent mind.
In the latter part too she went for pure classical numbers like Jaya Jaya Durge in Durga of Narayana Teertha, Ramuni Maravakave in Kedaragowla of Thyagaraja and Nenarunchinanu in Malavi also of Thyagaraja, that put the girl to test as this breezy presentation has to tackle the inbuilt chittaswaram. She managed it extremely well.
The lighter side included Lalisidala in Desh of Purandaradasa and an Abhang of Sant Gjnaneswar ‘Roop Pahata in Yaman. It was a concert to be remembered for ever, especially for her RTP presentation.
Keywords: Devarakonda Karteeka Anagha