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Dance, music and mime in harmony
At long last, there was a bharathantayam recital in which music and mime merged harmoniously, producing an electrifying effect. I am referring to the one, Rajeswari Sainath presented at the A.P. Bhavan under the Andhra Pradesh government's cultural wing in New Delhi on Friday evening. It can be said of Rajeswari that she is among the best dancers in the idiom as she has been trained in the strict Pandanallur style devoid of any jerky angularities. The adavus were chiselled to perfection and as to footwork she hardly needed a mridangist as the dancing feet could execute any rhythmic cycle with ease, grace and poise. In the jathis bristling with rhythmic intricacies she rose to great heights. In the breezy one that came after the charanam, she excelled herself. Not a single false step mind you. A recital to remember. All that Rajeswari needs is a godfather in the capital.
Subbudu, THE STATESMEN, New Delhi

Her style of dancing is synonymous with alacrity, agility and alertness. She will brook no slips and once she takes to the stage, dances with a dedication oblivious to the surroundings. Rajeswari ceases to be the third person narration but ends up being a personification of the character in portrayal immersed in delineating the subtle nuances of the Trinity. She flits across the stage in stupendous swiftness, with the pada jatis serving to enhance the entire narrative. She gave the impression of a temple sculpture suddenly vested with life on moving ahead to dance.
Ranee Kumar, THE HINDU, Hyderabad, March 5, 2004

Sizzling secrets of south India set house on fire
Dancer Rajeswari Sainath articulated the shifting moods and sharp accents of the piece with extraodinarily expressive movements, while the orchestra dug tightly into the rhythmic detail of the ragas and soared with brassy splendour over the increasingly ecstatic melody.
Jessica Nicholas, THE AGE, Australia, October 17, 2003

Scintillating footwork
Her electrifying performance has to be experienced to he believed. It would not be an exaggeration to say that Rajeswari precisely pictured abstract philosophy through her exquisite presentation both by way of abhinaya and pure dance (Nritta). Her jathis invested a gravity to the grand thematic substance of the compositions. The verve and vigour of execution of the trickiest footwork in absolute synch, weaving rhythmic patterns with her hasta mudras and adavus, was a delight to watch. Every time she completed a cycle, the auditorium resounded with applause. The technical precision of the adavus was an achievement worthy of all the adulation, especially when the dancer's diligence and devotion coupled with concentration was so evident on stage.
THE HINDU, Hyderabad, February 21, 2003

Five-fold divinity
It was elating to watch Rajeswari launch into highly structured jathis (footwork) defining the beginning of the verse in keeping with the imposing theme. Perfect positioning, accuracy and alertness are her forte. These are amply evident in every move of her body and gestures to a faultless precision.
THE HINDU, Hyderabad

So it was after a long time that Delhi witnessed a Bharatanatyam recital by an accomplished dancer that was dynamic and individual without seeming to be I- Centered.
Anjana Rajan, THE HINDU, Delhi, October 14, 2005

An unforgettable evening of dance
The three-hour programme kept the audience awestruck. Rajeswari is an artiste who has an inborn astuteness and the unique skill of innovating choreography at the spur of the moment when she judges the mood of her audience. Difficulty seems to stimulate her! The evening's programme was one of weighty classicism, pure and chaste. If one wondered at Rajeswari's stamina in this technical episode, the spirit and cheer displayed at the end of the event, was even more arresting. Passing from vilambam to madhyamum and from dritham to atihidritham. The transition from one to the other was smooth and interlinked and yet the overall time scale was rigidly retained.
B.R.C. lyengar, THE HINDU, Hyderabad, February 2, 2007

Informative Lec-dems
It requires a great amount of innate talent and interest combined with dedication on the part of the dancer to achieve the required result. Rajeswari Sainath from Hyderabad is an achiever in every sense of this description, having worked with one of our outstanding Laya exponent Karaikkudi R. Mani, whom the world of rhythm adores with reverence.
Nandini Ramani, THE HINDU, Chennai, January 2, 2004

Rajeshwari Sainath's performance at the Bharatiya Vidya Bhavan, under the aegis of Kalapradarshini, was an exposition of amazingly intricate Laya patterns effectively interwoven with the abhinaya aspect of dance. The intricate jathi patterns done in different speeds tested the stamina of the dancer, and needless to say Rajeshwari came out with flying Colours. Her Theermanam passages drew loud applause. Her constant smile while performing the adavus, as if truly enjoying her dance, was noteworthy.
Janaki S., THE INDIAN EXPRESS, Chennai, December 16, 2006

Mathematical precision
Classical dance, more specifically Bharatantyam and its kinship, as a form of art, to business formed the core of ISB extra-curriculum activity. Rajeswari Sainath, an exponent of the Pandanallur style of dance gave a brief outline of the obligation dance owed to society and vice-versa bringing in the business/industrial community as present and future patrons of art. A succinct 'mangalam' with 'diyas' looked an aesthetic wrap up of the entire show. Kudos to ISB for taking the lead in organising high-calibre presentations like these.
THE HINDU, Hyderabad, September 30, 2004

Fluid moves
"Every art form undergoes some change in keeping with the demands of a particular period of time". The Bharathanatyam recital of Rajeswari Sainath for Sri Parathasarathy Swami Sabha was an enchanting experience hummed with the dynamism ofjatis evolved by Kaaraikkudi R Mani. They were a cut above the normal, demanding perfect nritta. When Rajeswari executed those complex jatis unerringly, roars of applause attested to her charisma. Her success was not fortuitous as, in addition to her high basic talent, she has a telling mukhabhinaya too.
K.S.Mahadevan, EXPRESSWEEK, Chennai, October 7, 2000

Elegance in totality
The new year's dance boom is spawning a culture of phony elegance which one fears, may lead to the dilution and standardisation of tastes. An exception to this state of art was provided by Rajeswari Sainath of Hyderabad, whose recent Bharatanatyam performance at Mylapore Fine Arts conformed to the highest standards of the Pandanallur tradition - style devoid of jerky angularities, adavus chiselled to perfection, dynamism and overall grace. Typical of her presentation was her restraint and hold on the sthayibhava which enabled her to depict Sringara and bhakti bhava equally effetively.