‘Early in “Swaha,” Sonali Mishra does a dance of invocation, “Mangalacharan: Namami” (choreographed by Padmabibhusan Guru Kelucharan Mohapatra), that eloquently contrasts stillness and motion, and that continually shows the perfect counterpoise of one part of the body against another. Shoulders, hips and head tilt against one another in shifting balance and counterbalance. When Ms. Mishra stands on one leg, with her pelvis leaning one way, a whole series of curves answer one another up and down her body, but the solo also keeps those curves equally in play sometimes very gently —while she is moving.’ Alastair McCauley, New York Times

Alastair McCauley, New York Times

In her Odissi showcase, Ms. Mishra’s face, through the fascinating power of her eyes, was one of continual transcendence…She was at her most coquettish in “Leela Nidhi,” in which the consort Radha begs Krishna to give her back her sari so she can return to her village without shame, and fiercely agile in “Durga Stuti.” Here she played Goddess Durga, endowed by the gods to kill the demon Mahisasura.

Gia Kourlas,New York Times

A garlanded image of Lord Jagannath sits in a place of honor, and Sonali Mishra brings him tribute, her cupped hands filled with blossoms that she scatters at his feet. It follows that everything we see and hear, from the shimmering music and sweet songs to the dazzling golden ornaments and flowers worn by the dancers, is a tribute painstakingly refined.

Robert Johnson,Star Ledger

A garlanded image of Lord Jagannath sits in a place of honor, and Sonali Mishra brings him tribute, her cupped hands filled with blossoms that she scatters at his feet. It follows that everything we see and hear, from the shimmering music and sweet songs to the dazzling golden ornaments and flowers worn by the dancers, is a tribute painstakingly refined.

nj.com