“Dikshitar’s ‘Kanchadalayadakshi,’ choreographed by Vempati Chinna Statyam, was the centrepiece of the show danced by Amrita and Shobha Korambil. The beauty of the physical form of the Devi was depicted in detail, interspersed with stories such as the burning of Manmatha, and it was heartening to see the synchrony of movements between the two dancers.”

-V.V. Ramani

‘Synchrony Matches Skill’

“With an attractive stage presence, young and sprightly Amrita succeeds in highlighting the Vempati bani admirably with quicksilver movements and elegant postures. She strives to imbibe the spirit of the dance form that challenges her to rise to great artistic heights. With command over technique, Amrita has carved a niche for herself as a brilliant Kuchipudi exponent. Her interpretation of Chitrangada in a solo narrative form was further embellished with brevity and  selection of appropriate verses which had a natural flow along with both Bengali and English prose passages. The tillana with ‘Esho Shyamalo sundaro’ in Desh raga concluded her solo rendering.”

-Sunil Kothari,

“The Mumbai-based Kuchipudi danseuse, Amrita Lahiri, took stage first, with her invocation: Jayamu jayamu…, composed by Vempati Chinna Satyam for his dance-drama Shakuntalam. Born in 1980 and hugely talented, Amrita then launched her major item Murchchana (Spirit of Music), as mentored by the senior dance-guru Sharmila Biswas. With a low podium placed strategically on front-stage, Amrita both spoke and danced in a seamless manner.”

-Utpal Banerjee

‘Bond with beats and melody’ The Pioneer,

“The last and final performance was intriguing to begin with. How could Tagore’s immortal Chitrangadha be performed in the Kuchipudi style? And yet it was done, and how! The event, supported by the Tagore Society, Singapore, saw a wonderful performance by well known dancer Amrita Lahiri. Interspersed with monologues and shortened to suit the time frame, its music remained true to Tagore throughout. The style of dance alone was Kuchipudi and yet it all gelled perfectly. It was as much a tribute to the skill of the dancer/choreographer as it was to Tagore.”

-V. Sriram

‘Classical evenings in Singapore’ The Hindu,

“…one notices a certain aesthetic control being exercised over them (movements) , thanks perhaps to the training she has received in bharatanatyam from Leela Samson. 

Fortunately, the control does no harm to Lahiri’s spontaneity, expressed in her darting eyes and lively smile. All the items that she danced, choreographed by her present guru Jaikishore Mosalikati, combined complex footwork, clean lines, an unflagging pace and infinite grace.

Her leaps and jumps were executed with the lightness of a gazelle; and one of the more awesome moments in the choreography was when the movement of her body exactly matched the meend of the bol “dheem”.  …Amrita Lahiri’s performance was refreshing and energising, and left us asking for more. Let’s hope there will be more.”

-Shanta Gokhale

‘Mumbai Mirror- ‘Steps to a Great Kuchipudi recital’

“At last, there is still hope for the Kuchipudi dance form which is presently in a chaotic condition in its home State, if Amrita Lahiri’s recent performance is anything to go by....Amrita’s abhinaya was as captivating as her nritta was encompassing.”

-Ranee Kumar

Lahiri is so connected to the music and the poetry that sometimes I wonder if the music actually comes from her body, and not from the fantastic group of musicians on the side of the stage. This performance comes with a standing ovation, the audience cheers with loud, long applause.”

-Ezekiel Oliviera

Fivelines - Full article at

“For Amrita Lahiri, it is her sprightliness. It looked as if she had a spring beneath her feet as almost every movement was turned into an airborne one. It is however not just the energy, flexibility and grace, but her total absorption that was impressive."

-Rupa Srikanth

“One of the foremost young dancers of Kuchipudi, Amrita was refreshingly different with her vivacious stage presence, unwavering stamina and refined aesthetic sense, the signature touch of Guru Vempati Chinna Satyam, right from the opening Natesha Kautuvam set to Adi Talam in raga Hansadhwani.”

-Manjari Sinha

“With evocative abhinaya, supple curves of the torso, and light traveling footwork, Lahiri spun her story…”

-Karen Greenspan

full article at Ballet Review, 46.4 Winter 2018-19 print edition

Ballet Review, New York- Winter issue 2018-19 

“If the slight, slim figure of Amrita Lahiri presenting Kuchipudi managed to hold audience attention in this crowded setting, it derived from proficient dancing…The experimental Tarangam interwoven into Balamurali’s varnam composition ‘Amma Anandadayini” in Gambira nattai, was a winner, with grace-abounding postures and rhythmic interludes with electric pauses and changing accents making for a riveting fare. Amrita’s stage spacings, alternately balanced on the rim of the brass plate and off it on the plain floor, were smooth.”

-Leela Venkataraman

‘Of postures and rhythm’ The Hindu, 1 February 2013

“Amrita Lahiri staged an enthralling Kuchipudi recital in which the dancer appeared to be a source of inexhaustible energy. Symbiotic movements, sculpturesque poses and extremely soft footwork were the demarcating features of Amrita’s artistry….the dancer exhibited laudable stability in the varied poses and she was also careful enough not to overdo the plate part of the dance. Amrita’s own choreographic ingenuity was discernible in the tillana that combined a traditional one with a couple of lines from Rabindranath Tagore.”

-GS Paul

The Hindu, - ‘Alluring Artistry’