SRI THYAGA BRAHMA GANA SABHA
True to style
Kasturi Rangan.
It is more difficult to unlearn than to learn. Yet, sometimes, the process of unlearning becomes essential when the individuality of an artiste is the issue in question, in the context of his performing style. While it is enriching to identify with a particular style, it is equally important for an artiste to develop individual attributes.
Kasthuri Rangan is a talented vocalist who has a great deal going for him — a strong voice whose inherent strength surfaces with deep resonance in the mandrasthayi and a logical creative approach to raga elaboration. If he could make a concerted effort to break out of his self-imposed mould, maximising his potential and making changes in enunciation and voice projection, he would be in clover.
Tyagraja's `Hecharika' dwelt effectively on the niceties of Yadukulakhambodi. A phased approach to the main raga, Kharaharapriya, highlighted salient features. Sahitya bhava came to the fore in the anupallavi of Tyagaraja's `Pakkala nilabadi.' Aesthetic touches were in evidence when the artiste allowed his natural instincts to take over in the delicately crafted Ashtapadi verse and `Chinnanchiru kiliye'.
Trivandrum V. Balaji's (mridangam) tani was garnished with an interesting mix of patterns while V.V.Srinivasa Rao's sound technique and efficient execution on the violin would have been further enhanced by a little less hurry and a little more azhutham.
LALITHA KRISHNAN
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