Lata Ganapathy Ravikiran, THE HINDU.COM



Abundance of lively skill, a smile that flashed at appropriate moments, the well-defined perception and bright red costume meant that Kirti Ramgopal created incandescent natyam…Peppy moments through the mallari in Gambheeranatai and alarippu in mishra chaapu defined the dancer’s nimbleness and grace that made light work of the arduous bends and stretches in the choreography seem so easy. Dandayudhapani Pillai’s varnam in Purvikalyani, ‘Swamiyai Vara Sollai’, was a vivid display of both rhythm and emotion. It was a pleasure to watch an artist with the sensitivity to know where to deliver the right note of emphasis and where not to. The faithful aramandi posture, rounded endings and the flow of energy through the whole body all flowed on to the uncluttered abhinaya…

Leela Venkataraman and Vidya Saranyan, THE HINDU, Chennai, 2010


…Kirti Ramgopal blessed with stage presence is a dancer to watch. The angasuddha of her Bharathanatyam never got diluted right through the recital. Mallari with Tiruppugazh made for a lively start, the dancer catching audience attention right from the word go. Dandayudapani Pillai’s varnam in Poorvikalyani showed the dancer’s grasp over both the rhythmic and the interpretative parts.

Leela Venkataraman, NARTANAM, 2010



It is rare to see a varna that has exclusive korvais, with practically every adavu incorporated into the nritta to form a delightful mosaic of movements, whose geometry, lines and format are near perfect. The credit for this aesthetic and fulfilling evening goes to Kirti Ramgopal, whose dance composition for the varna, ‘Swamiyai Vara’ easily slotted her as the first among equals, not just as a dancer of superior merit, but as a composer who has deciphered the idiom well enough to make it a feast for the eye and balm for the soul.

Her recital at Nayana the other day was a gratifying affair, the sprightly pushpanjali (gowla) and the unhurried varna, studded with innovative nritta formations, complemented by the charming devarnama…

Jyothi Raghuram, THE NEW INDIAN EXPRESS, Bangalore, 2009


Bangalore’s Kirti Ramgopal’s Bharatanatyam performance was pleasing for its precise and distinct execution of movements while maintaining the ‘angashuddam’. It was a pleasure to watch her maintaining the ‘aramandi’ position. A distinct disciple of Guru Padmini Ramachandran, Kirti will definitely go places.

Vijay Shankar, ADC, Mumbai, 2009


The Bharatanatyam recital of Kirti Ramgopal was the high point of the festival. The talented artist impressed with the varnam ‘sami nine kori’ where she convincingly portrayed the nayika pining for union with her lord Brihadeeswara. Kirti was confident and very expressive in her abhinaya and near in her technique. She could hold the spectators interest all through the varnam without breaking the spell even for a moment.

Madhavi Puranam, NARTANAM, 2009


Kirti Ramgopal, a ward of Padmini Ramachandran, opened the festival with a dignity and maturity beyond her age. An amazingly consistent aremandi, a perceptibly perfect nritta with striking geometry and a subdued yet subtle abhinaya were the highlights of Kirti’s recital. It came as a surprise to know that the dancer had composed the nritta for the korvais of the varna, Devar Munivar (shanmukhapriya) herself. One has rarely seen such an imaginative and seamless stringing of adavus, where the end result was a multitude of movements coalesced into a beautiful collage.

Jyothi Raghuram, THE NEW INDIAN EXPRESS, Bangalore, 2008


Kirti Ramgopal, a student of Padmini Ramachandran, through her inaugural dance recital, gave a good account of her grounding with Ganesha Kauthuvam. Mainstay of her fare was the fine Varna – Devarmunivar. It was a wholesome treat, the sancharis weaving into the familiar episodes like Bhrigu Muni, Draupadi Vastrapaharana, Bali Chakravarthi- enriching the neat portrayal. Kirti’s abhinaya stood out with her good expressions….

Mysore V. Subramanya, DECCAN HERALD, Bangalore, 2008



…throughout the evening, Kirti showcased a neat technique and a glorious araimandi essential to the Bharatanatyam form to depict iconographic images. An intelligent dancer, Kirti had planned and choreographed the narratives in the Varnam imaginatively. The treatment included feelings of intense love and devotion to lord Shiva. The segment ‘Tamadam Eno’ was beautifully portrayed to show delicate expressions of tempered viraha and abundant love for her lord. Kirti’s execution of theermanas was visually stunning…. She immaculately carved a variety of geometrical shapes and lines as she glided through the rhythmic passages.

Malathi Iyengar,, 2008