Ganakalashree Vid MS Sheela
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"A disciple of the maestro R K Srikantan, of Karnataka, Sheela's performance was characterised by competence, melody, depth and bhava"
- The New India Express, Madurai, Nov 13, 2000.

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"How easily, effectively dashing M S Sheela with her delectable singing could transform a dreary atmosphere in the wake of inevitable…. Sheela, easily one of the most impressive vocalists in the style today, was the president of the three-day annual festival this year which entitled her to present the inaugural concert too. Disciple of veteran R K Srikantan, she combines in her singing the quiet classicism of the passing generation and the vigorous imagination of her own genre, a blending that postulates continued intellectual process combined with assiduous practice leading to selection and elimination before the final integration.
Another significant aspect of her Sheela's music, imparting it a unique quality, is her resonant voice and the way she coaxes it to suit her vision of what she wants to achieve. In this perhaps lies the secret of her utterances, the verbal content just melting away in the tonal flowas it happened with rag Bilahari…"
- S N Chandrasekhar, Indian Express, Bangalore, Oct 17,1993.

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"It was difficult to say what part of the concert was most bewitching. There was allround excellence. For raga lovers the alaps had depth and contained several innovative phrasings. Her laya was impeccable as seen in her swarams. Diction was perhaps her strongest point."
- Trinity Mirror, Chennai, April 1, 1997.

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"The Sangeetha vidwath of seasoned singer M S Sheela expressed through a firm, trained and melodious voice that cruised three octaves, impressed the large audience at Bangalore Gayana Samaja…. Sheela's intuitive understanding of the sookshmaas of classical music - the nuances that make a raga or a sangathi sparkle - was evident in her recital. ...The kalpanaswaras, in the taut, technical framework of laya, was another dimension to the concert. Without exaggeration of any aspect of Carnatic music, raga, keerthanas or swara, she made her recital sound and solid. … In the raga alapanas, it appeared as though the ragas had taken a liking to the singer's musical gifts to reveal to her their depth, dazzle, sweep and subtlety."
- M Surya Prasad, The Hindu, Bangalore, Nov 21, 2003.

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"This disciple of Sangeetha Kalanidhi R K Srikantan has learnt kritis with purity of padanthara and attention to bhava that her rendering of Dikshitar classic "Madhurambikayam"(Hemavathi) touched one's heart. Later, her detailed sketch of Sankarabharanam had a diaphanous harmony that brought out the leonine character of this raga - both in the middle register and the top one - her melody enveloping herself and the audience in a warm embrace. "Enduku Peddalavale", the Tyagaraja masterpiece was striking, in the panoply of moving sahitya, raga enchantment and intellectual application."
- K S Mahadevan, The Indian Express, Chennai, December 18, 1997.

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"Endowed with a clear voice, she made it a rare musical experience…. It was even in tempo with no sagging anywhere. …She has great facility in singing swaras. …The tour de force of the concert was Kambhoji - in this elaborate raga essay she touched the characteristic nuances made effective by the weight in her voice"
- Lakshmi Venkataraman, The Hindu, Madras, Dec 22, 1995.

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"She sang without a break for more than four hours, filling every moment with melodious music, never once giving in to gimmicks of any kind: it was pure, unadulterated music of the first order."
- Chitra Sudarshan, Indian Link, Australia, April 2003.

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""…the highlight of the concert was her exposition of the ragas. Besided methodically unfolding them, Sheela laid emphasis on the motifs and nuances which set off the bhava and character of the ragas. This was best appreciated in the alapana in Purvikalyani and Madhyamavati. …Her singing alternated between the smooth and spirited. Sheela was in control of all the elements…"
- B V K Shastry, Deccan Herald, May 12, 1997.