FRIDAY REVIEW

Sober simplicity missing

Mixed feelings Needless display of sangathis could have been avoided.

Mixed feelings Needless display of sangathis could have been avoided.  

B.R.C. IYENGAR

VOCAL CONCERT Kasturi Rangan has a generous voice that pleases the ear rather than the heart.

One of the impressive features is his pristine placement with the ‘sruti’ which generates resonance of divine ecstasy.



Kasturi Rangan, who gave a vocal concert sponsored by Kalasagaram last week, has a voice which is generous and elevated, galled by incalculable curves but with superfluous decorations that please the ear rather than the heart. His eloquence is powerful; his poverty is his richness in overemphasis. Had there been sober simplicity, his expression would have been easier.

His art teems with classical allusion and poetical imagery; the plan has not only the substantial merit of comprehension, perspicacity , and precision, but that the communication is unexceptionally excellent. One of the impressive features is his pristine placement with the sruti which generates resonance of divine ecstasy.

An artist who is alert of the lyric exploits the passion and feelings of the composer and also conveys them effectively to the listener.

The concert started with the varnam in Shahna and the songs, Deve deva kalayambike, in Mayamalavagowla and Nee bhajangana in Nayaki built up the needed tempo.

The alapana of raga Kalyani was brisk but missed some set and distinctive phrases so typical of the raga, even going wayward at moments.

The befitting krithi, Ammaravamma, with adequate neraval and swarakalpana was welcome.

The krithis of Shyama Sastri, Brovavamma thamasame, had its dignity in time measure and movement and the artist conveyed it with full emotion. A rare composition in Yadukulakamboji was a unique item that wedged in at the right time. Vidamuseyave in kharaharapriya was a good selection but the needless display of sangathis followed by piteous intervals and silence was a piece of showbiz uncalled for and unethical.

To choose Kedragowla as the centre-piece for elaborate and extensive exercise was a misplaced judgment. The raga is an ocean of emotions, but its scope and the beliefs that go with it are rather constrained. The raga covered a good part of the time but helplessly had a lot of repetitions. Sharagunapalimpa of Srinivasa Iyengar was well presented but the playing of swaras for the krithi sounded redundant.



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