The duration of the alapana in Valaji for Papanasam Sivam's "Padame Tunai" rendered by Sarojini Sundaresan could well be a record of sorts at Hamsadhwani. The veteran's zest was most commendable. A devotee of Alattur bani her swaraprastharam for "Balambikaya" (Sriranjani-Dikshitar) after a comprehensive alapana, was a good effort. Tyagaraja's "Sarijesi Veduka" in Teevravahini is not often sung. Sarojini got competent voice support from Leela Rammohan Rao, whose composition "Darshan Dedo" (ragamalika set to tune by Sarojini) made a good impact. Syama Sastry's Todi classic, "Ninne Nammi," after an alapana and resourceful swaras,"Chitrasabai Thanile" (Neelambari), and Sarojini's tillana in Varamu are worthy of mention. It was a sincere and an unpretentious concert in which the accompaniments were Maalmarugan Yoganatham (Australia), and Tiruvarur Balam (violin). The Hindu - Dec-31-2004

Sarojini Sundaresan, a senior vocalist, is one of the standard-bearers of the enviable Alathur musical tradition.

Alathur Venkatesa Iyer, the guru of the redoubtable Alathur Bros., was her mentor and preceptor also. Sarojini's music has been recorded in two compact disks that give rasikas a clear idea of the distinctive Alathur bani.

The gripping chittaswarams for the songs in Nattai, Jaganmohini have the singular Alathur stamp. Chakravaham, the 16th mela, has been expanded with creditable traditional sancharas reminiscent of Alathur Srinivasa Iyer's raga interpretation.

Gopala Krishna Bharathiyar's "Arivudaiyor" was a popular kriti in the '50s and '60s but is in the wilderness in the contemporary scenario.

It was refreshing to listen to the composition especially the lyrical sequence, "Unnai Marandhida Pomo" rendered with spirited fervour, reviving Alathur nostalgia. Thodi was quite a favourite of the Alathur brothers. Their song version of Tyagaraja's "Dasucovalena" and the immaculate swaraprastharas and Kuriappu for the Misra Japmpa tala will be ever etched in the minds of senior connoisseurs.

The two Tyagaraja kritis in Sourashtram and Chayatharangini are involved renditions.

The artiste's delineation of Amrithavarshini, Meesu Krishna Iyer's "Pada Bajana" with its punch-packed chittaswaram, the thematic expansion and kalpanaswaras were professional efforts. Violinist V. V. Ravi' essay is marked by strong, impressive bowing and pleasing phrases that create a prompt aural impact.

"Mari Mari Ninne", a Tyagaraja gem, is an enjoyable rendering with the supporting voice of Leela Rammohan emerging with clarity. "Chandrasekhara" in Sindubhairavi by Sarojini is a carbon copy of that expression.

A lively tillana of Alathur Venkatesa Iyer in Hamsanandi set to Desadi tala misra nadai, concludes a satisfying performance by an artiste who has for a long number of years worked with committed dedication to promote and propagate Carnatic Music in distant lands.
-Sulochana .Pattabhiraman, The Hindu, Feb 20, 2004

Not only thinking respectfully of the Guru but also spreading his style all over the world is the noble task undertaken by Sarojini Sundaresan and her daughter and disciple Leela Rammohan. Sarojini Sundaresan learnt from the great Alathur Venkatesa Iyer for over 15 years and continues to give concerts extensively. Despite the fact that she had to leave India and live in the UK when husband's job took her there, her dedication to the art only strengthened.
In order to popularize the Alathur tradition of music taught by her great Guru, she not only gives concerts all over the world but also runs schools in the UK and the US aided by her able daughter.
She is very well received not only in the UK and the US but also in the Europe. Her educative programs in the CEEI TV - Sangeetha Saram is telecast all over the UK, Europe, Australia, Middle-East and other countries and is greatly appreciated by students, teachers and critics of Carnatic music.
Leela Rammohan supports her mothers endeavours in spreading the Alathur tradition of Carnatic music by singing in concerts with her and also teaching students from different nationalities. She is also a versatile Bharatnatyam dancer trained by Vazhuvur Ramaih Pillai, Smt. K J Sarasa and learnt Konnakol from Ramanathapuram Kandaswamy.
- ApoorvaRagam Music & Dance Magazine Jan-2004

Smt Sarojini Sundaresan who gave her performance under the auspices of the Seshadripuram Ramotsava Samithi is a top class artiste.
The speciality notable in her singing is the variety in the Swara Prasthara, expression of moods (Bhava) in Raga Alapana and the clear pronunciation of words to enable easy understanding of the Sahitya.
In appreciation of her singing of the ragas kalyani and Bhairavi at the concert at the Seshadripuram Ramotsava Samithi, the famous Vidwan Chennakesavaih commented "If you need real music, it is this."
The brika melody of voice and clear pronunciation of Sahitya speak of her extensive practice of the art under her Guru. She is the disciple of Sri Alathur Venkatesa Iyer, Guru of Alathur Brothers.
-Samyukta Karnataka, Bangalore.

THE LONDON-BASED veteran disciple of Alattoor Venkatesa Aiyar, Sarojini Sundaresan, gave an enlivening concert under the auspices of Sri Ragam Fine Arts at Raga Sudha Hall. The programme included several kritis. Mention may be made of Meesu Krishna Aiyar's "Karunarasa Jalaji" (Abhogi) and "Arivudayur" (Chakravakam - Gopalakrishna Bharathi). Dikshitar's "Venkatachalapati" (Manipravalam) was another not frequently heard song. "Atukaradani" (Manaranjani - Tyagaraja), "Palinchu Kamatchi" (Madhyamavati - Syama Sastry) Swati Tirunal's "Visweswara" (Sindhu Bhairavi) and a Hamsanandi tillana (Venkatesa Aiyar) were noteworthy.

Detailed, full-throated alapanas in several ragas and precise swaras spoke of the artiste's hard training and commitment to the art. Leela Rammohan gave voice support.
-KSR, The Hindu Dec-12, 2003.

The recital of Sarojini Sundaresan and Leela Sundaresan was interesting. Sarojini is a disciple of Alathur Venkatesa Iyer and the Alathur stamp was visible throughout her recital (assisted by her daughter Leela). The duo's rendition of the pieces 'Sri Gannaatham (Esamanohari), Neevadane (Saranga), Chandrasekaram (marga Hindolam), Aadayashri (Ahiri) and Ettinirpadum (Naadanamakriya) was enjoyable. Sarojini's alapanas in Marga Hindolam and Ahiri were well planned in the Alathur style. The rendition of the Thirupugazh Marukkulaviya set to chathusra jaathi rupaka talam was spirited.
-The Hindu.

The vocalist's rendition of Adayashri (Ahiri) was fine."In her exposition of an intricate pallavi set to the khanda jaathi tala in four kalais, the singer exhibited her thythmic talent impressively. There was precision in her rendering of the pallavi line in the three grades of tempo, in the tisra gathi and in its pratiloma and anuloma frames".
-RV Hindu

"While her essay of the kambodi was highly impressive, her rendition of the piece, koniyade of Veena Kuppaiyer in that raga suffixed with neraval and swarna lines had considerable aesthetic effect".
-The Hindu.

Vazhuvur Art Festival held in R R Sabha Hall featured the recital of Sarojini Sundresan assisted by her daughter Leela Sundaresan.
She started the concert with 'Pranamamyaham' in Gowlai, and followed with 'Balambikai' in Sriranjani.
The raga alapana of Vachaspathi and the rendition of the krithi 'Kantachoodumi' with neraval and intricate swara prastharas in the charanam 'Allanadu' in the half beat showing her expertise received the applause of the audience.
-KV, Dinamani (a translation)

Sri Thyaga Brahma Gana Sabha hosted the concert of Smt. Sarojini Sundaresan in the annual festival last Tuesday.
Of the two main ragas 'Rama Manohari' (Maathangi Sri Rajarajeshwari) and 'Kambodhi' (Koniyada of Veena Kuppaiyer), Kambodhi gained the first place. In the Koniyada krithi, she chose to do neraval and swaraprastharas in tow speeds in 'Kalakootta Bhaada', which was highly impressive.
-Thyagu, Dinamani (Translated from Tamil to English)

The Gana Kala Vidya Nilayam of Gorguon featured a concert by Sarojini Sundaresan on sunday evening.
Mrs Sundaresan opened her recital with a rare varnam in Kalyani set to Misra Jambai tala and followed it up by Panchamathanga, the well known Dikshathar krithi in Malahari. Her exposition of karaharapriya was brilliant and all the subtle facets of the ragas were explored in depths and one could feel the stamp of the Alathur school in the presentation.
-The Times of India, Bombay.

Sincerity of purpose marked the vocal recital of Sarojini Sundresan on Monday at Sri Sitharamanjaneya and Andal Rangamannar temples in Jayanagar.
Sarojini's voice has sufficient depth and spontaniety. She has clarity of thought and the execution is methodical. Singing in the style of Alathoor Brothers, she appropriately chalked out the programme with Rama as the central figure.
'Kripajoochutaku' in Chayatarangini was rendered in typical Pattamal style. Sarojini's swara manipulation for Thyagaraja's Sogasuga' Sriranjani was assertive.
Sarojini took up Shanmukhapriya and elaborated it meaningfully. The plaintive undertones were clearly brought out in the middle octave. The raga build up was quite satisfactory and into the framework was fitted Patnam Subramania Iyer's Marivere. The neraval and swaras for the charanam 'Sannuthanga Sri Venkatesaneevu' was compact and tidy.
-Indian Express

Mylapore Fine Arts Club featured the concert of Sarojini Sundaresan in their annual series. Her music speaks of her intense training in a very traditional bani (style). She is the disciple of Late Sri Alathur Venkatesa Iyer.
Sarojini chose 'Naatakurunji' (Thripurasundari), 'Thodi' (Kolluvamaragada) and 'Dharmavathi' (Ragam Tanam Pallavi) were noteworthy. thodi alapana gained the top place among the three. The rendition of the neraval in the charanam - 'Thambura Chekoni' and the precise swara prastharas were imaginative and precise.
The alapana of Dharmavathi and the methodical rendition of the Thanam in varied speeds was scientific. The Pallavi - 'Kamalasani Sundari Chandravadani' in Kandajathi Jamba Thalam with eduppu (starting) in the three quarters of the beat was dealt with expertise. By doing Anulopam and Prathilopam of the Pallavi with precision, Sarojini exhibited her strong command on Laya (rhythm).
Leela Sundaresan ably supported her mother throughout the concert.
-Thyagu, Dinamani

This disciple of Alathur Venkatesa Iyer, the Guru of the famous Alathur Brothers, acquitted herself throughout her three-hour recital.
The stamp of the Alathur school was amply evident. Though she began the concert on humble note, she warmed up later and was at her best in the elaboration of Karaharapriya, followed by Chakkaniraja the piece de resistance of the concert.
-Indian Express

Alathur Venkatesa Iyer's disciple Sarojini Sundaresan assisted by her daughter Leela Rammohan Rao performed for Bharatiya Vidya Bhavan, London. The recital started off with the Saveri Varnam in two speeds with precision showing the Alathur bani right at the onset.
The chittaswarm composed by Sarojini Sundaresan for 'Sudhamadurya Bhashini' in the rare raga Vandhanadharini was very noteworthy.
The main raga for the evening was Karaharapriya. Mrs.Sundaresan developed the alapana in a scientific manner going step by step elaborately. The krithi 'Chakaniraja' with over 27 sangadhis for the pallavi was rendered traditionally and in unison. The neraval and the ragamalika swaraprastharas by Mrs. Sundaresan bore the Alathur stamp and explicitly showed her expertise and control over laya.
'Chandrasekara' in Sindu Bhairavi brought back memories of the Alathur Brothers. Sarojini's scholary concert is a rare treat for music lovers and students
-Anchal (Tamil Fortnightly), London.