Young singing sensation

Kasturi Kamala Deepthi kept the listeners enthralled.

Kasturi Kamala Deepthi kept the listeners enthralled.  

CHANCES COME unawares and the wise take them up boldly to prove their mettle. That is what happened to teenaged Kasturi Kamala Deepthi, an upcoming vocalist. Singing for the well-noted sabha, Visakha Music Academy as a last minute substitute for the slated artiste who could not make it, Deepthi inspite of being in the midst of attending the final Intermediate examination, not only filled the gap but also seemed to have utilised the opportunity to the hilt.

Winner of many an award from almost all prestigious music sabhas in the South Kasturi had little experience in rendering long duration recitals., The audience seemed to be a disappointed lot and not particularly pleased with the change. As if to dispel their doubts, Deepthi turned adventurous, fulfilling all the requirements of a full-fledged concert with �lan. Not only that, she occasionally appeared to make the concert assume the measure of a wholesome feast.

Getting off to a tunefully full-throated start with a `varnam' in `Surati', she pleasingly rendered `Sri Vighnarajam Bhaje' of `Uttukkad Venkata Subbayyar' (Gambhira Nata), `Pariyachakama' (Vanaspathi) and `Nenarunchinanu' of Tyagaraja (Malavi) before she took up `Bantureethikoluveeyavayya Rama'(Hamsanadam) of the same composer for elaborate treatment. Her traverses into `trisram' while rendering the `Chittaswaram' in the two compositions (Nenarunchinanu and Bantureethi) on one hand and the `aalapana', `neravu' and `swaram' in `Hamsanadam' on the other as well, bore ample testimony not only of her grip on `laya' but also her penchant for surfacing meaningful expression of `manodharma'. Then came the crisp rendering of `Neekela Dayaradu' of Mysore Vasudevachar (Kadana Kuthuhalam) followed by absorbing rendition of `Akhilandeswari' of Dikshitar (Dwijavanthi) embellished with substantial `aalapana', expansive elaboration of `Padmavathi Ramanam' (Poorvikalyani) and `Chakkanirajamargamu' (Kharaharapriya) interspersed with the thrilling composition, `Vararagalaya' (Chenchukambhoji).

Compositions of Annamayya, Jayadeva and a `thillana' in `Jhanjhuti' constituted the delightful tailpiece. On the whole she left an impression of being an artiste of ample potential in the making.K.V.S. Prasad on the violin and G. Venkata Rao (Principal of D.V.N. Kalakshetram) lent excellent support.

Prasad negotiating the `aalapana' and `swaram' in his turns and Venkata Rao executing a scintillating `thani' contributed to the grandeur.


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