K.P.Nandhini being a top class performer she has been performing as a soloist and accompanist in prestigious sabhas since 2003. She has performed in several sabhas and performed in countries like Singapore and Malaysia. Nandini, who is also a well known violinist, has a unique timbre, despite her pitch at four and a half.

The cadence with which she executed Mee Su Krishnan’s ‘Dayapayonidhe’ (Jaganmohini-Adi) inspired her into short kalpanaswaras. Bharadwaj (mridangam) played in this phase with the maturity of a veteran. Raga Saramathi was the sub-main that found Nandini essaying a well structured raga alapana. Passionate phrases interspersed with brigas in a limited fashion were proof enough of the grooming by her mother, Uma, of the famed Mayavaram sisters duo.

A slow paced rendition of Tyagaraja’s ‘Mokshamu’ was appealing. ‘Seethamma Mayamma’ (Vasantha – Rupakam-Tyagaraja) at a contrasting speed paved way for the afternoon’s main ragam. In Kalyani, Nandini sketched a picture of flowers, all richly coloured. Haricharan’s counter was a vintage treat. Niraval and swaras for ‘Pankajalochana’ (Swati Tirunal) were completed with ease while Bharadwaj played an exceptionally well conceived thani.

Blessed with a husky voice, K.P. Nandini’s vocal concert was marked by her thoughtful and restrained presentation. There was no hurried articulation. it is small wonder that K.P.Nandini has blossomed into a fine young artist, who is not only an acco mplished violinist but also a talented vocalist.

In her vocal recital for Naada Inbam, the artist’s presentation testified to an intelligent approach without compromise on bhava. A concise sketch of Sriranjani and smooth-flowing sarvalaghu kalpanaswara patterns with simple kanakkus formed an effective frame for Papanasam Sivan’s ‘Gajavadana.’ Another Dikshitar kriti, the seldom aired ‘Sarasadalanayana’ (Khamas) was a standalone piece that came as a value addition.

Nandini plays to her strengths – a facile voice and an instinctive feel for the higher values of classicism, through a style that involves a faster than average delivery of sancharas in raga delineation, the pace reflecting a raring-to-go energy and dynamism. However, one of the fallouts is that this pace offers the vocalist little opportunity to seek out and dwell in purity of tone and significance of pause, which could translate, with time, into more karvais and a more leisurely exploration evoking serenity.

Musical Training

K.P.Nandini is trained in vocal by Sri.Lalgudi Jayaraman of select kritis and Ms.Uma Prabhakar for 4 years. She is also trained in violin by Ms.Lalitha Raghavan for over 10 years.

Awards & Titles

She received the Best Performer award from Parthasarathy Swami Sabha in 2008 and she is a recipient of the “Bala Kala Ratna” award from I.T.C Mangaldeep in 2009.Through her consistent performance she has was awarded the CCRT scholarship from the Government of India since 2004. She is a recipient of Vishnu Digambar Paluskar award and she is a recipient of several other awards.