A full-blooded akara-rich voice contributed classical weightto the singing technique of katuri Rangan, while it happened to be a gift-equipment for him, it also carried the pitfall of over-exploitation of vocal virtuosity.
Raga alapanas progressed flashing prettily conceived sancharas. He let manodharma to soar and the voice took wings. The most exciting feature was the panoramic sweep in the tara sthayi which was particularly noticeable in the Kalyani vinyasa. The chaya of the raga was well-formulated and remained constant. All that his concert offered was a sense of feel-good factor.
The wide viewing panorama of Kalyani captured its impressive picture. The kirtana ‘Kamalaambam Bhajare’ was sung from a commanding stance, fresh and vibrating.
That Kasturi Rangan was equally adept in handling a vilmbakala song was to be seen in the poised presentation of the Nayaki kritana, ‘Ranagnayakam.’
The depth of his voice enthrallingly wrapped the piece revealing the enduring tradition in interpreting Dikshitar compositions in particular. The sense of competence sprang from the assuring overall feeling of visranti.
So self-conscious as in the Nayaki song interpretation, Kasturi Rangan had an equally tactical sense in lifting up a madhyamakal song of Tyagaraja, ‘Sobillu Saptaswara’ in Jaganmohini – a method that balanced vilamba and madhyamakalas.
The accompanists Anayampatti Venkatasubramaian (violin), M.S. Varadan (mridangam) and S. Krishan (ghatam) provided sufficiently adequate support, though not enlivening.
