The Hindu
September -  2001

In his performance after receiving the Kalki Memorial Trust Award T.M.Krishna's voice imparted perceptively pervasive brilliance to every item he handled. By his compelling musical statements he scaled high peaks to claim a higher rank than what he holds now, which is itself marked by sampradaya distinction.There was interpretative passion, animated attraction, deep devotion and exuding confidence to proclaim him as a vidwan with faith, reverential commitment and lyrical sensitivity to the graces and grandeur of Carnatic music. Stupendous in appeal, a rasika could discern how over the years maturity is slowly conferring on his music melodic experience.

From the start his voice stimulated manodharma which in return led to expressive versatility. He was quite at ease with both  the tempo - prone kirtanas like "Kanindu - arul - purindal" (Kalyani, Papanasam Sivan) "Vandadum - solaitanil" (Harikambhoji, a Kalki composition) and "Bogindra - saayinam" (Kuntalavarali) and slow tempo "Enneramum - undan - sannidiyil" (Devagandhari, a Kriti of Gopalakrishna Bharati).In the last mentioned kirtana, which formed the Kohinoor of the concert, Krishna displayed a rare understanding of vintage vilambakala revealing the serenity of Devagandhari and the bhava - soaked sahitya, the composer expressing his deep desire to stay put at the sanctum sanctorum. A masterpiece of Gopalakrishna Bharati was rendered with mastery of vocal control by T. M. Krishna. His Todi alapana wafted all over and if at times it looked as excessive vocalism, it was pardonable as his voice was in luxurious felicity and he himself seemed to be overwhelmed by the occasion, being the recipient of the award.