It is always fun to read the review of reviews: the best example of such reviews is the series that Open Letters Monthly publishes for book reviews called Peer Review — take a look at this review of reviews of Guenter Grass, or, this one of Philip Roth for example.
In a similar fashion, but on an entirely different note, Arunn at Unruled Notebook (Hat tip to Gandham for the email alert) decides to have some fun interpreting, de-constructing and at times, just plain translating, the review of a music concert that appeared in the Hindu:
Though sporting a coquettish swing, there was dignity of Carnatic music.
Like commercial break between programs, this means ROFL break for my (Shri. SVK) review.
Through his competent singing (as agreed by me in the earlier sentences) Kasturi Rangan made me see the feminine swing (of hips?) of Mademoiselle Carnatic music. After enjoying it for a while, I realized it is wrong on my part to do so in public, so I shift the blame squarely on to Mademoiselle Carnatic music for sporting such an ungainly feminine swing that almost robbed her of dignity.
Long karvais, loops, gorgeous sancharas formed the raga edifice. His creativity was well matured by intensity of feeling with a skilful control of form.
All because of this good, creative singer Kasturi Rangan. Shame on him.
His training under a towering vidwan helped him enormously in the rendering of kirtanas.
Aha! He is very good because he trained under TNS.
His interpretation of ‘Sri Ranganayakam’ (Nayaki) and ‘Saragunapalimpa’ (Kedaragowla) clearly brought out the radiance of the composition. The spiritual excellence of the Nayaki kirtana was unfolded stressing its specific beauties. The shades of the raga in the song were precisely and compellingly revealed.
The Kedaragowla kirtana with its structural cohesiveness and chittaswaram was presented with passionate gracefulness. One significant feature noticeable was full-steam articulation both in ragas and kirtanas. But there was lack of clarity in the enunciation of sahityas.
Nayaki and Kedaragowla ragas and the follow up kirtanas were brilliantly done. Nayaki and Kedaragowla are difficult ragas to handle. Their important phrases present in the respective kirtanas were skillfully brought out. The singing was lively but the sahitya words were not sung with clarity.
If he desires to proclaim his individual identity he has to move away from the shadow of Seshagopalan.
Let me (Shri. SVK) close with the critic patented hypocritical cliche. Kasturi Rangan should move away from the “shadow” of Seshagopalan to prove himself to me.
Take a look!