Press for Bombay Rickey’s Cinefonia

“Perhaps the standout track of Cinefonia is the lushly worked instrumental track entitled “Pilgrim,” written by Ms. Sankaram. Allowing for almost visual sax and accordion lines intertwined with twangy guitar, “Pilgrim” is part Southwest openness, part Brian Eno complexity and part jazzy experimental. The effect is stunning…”

-World Music Central

“Sankaram’s voice could shatter a black hole, never mind glass…The high point among many on this album is a Sankaram composition, Pilgram, her wickedly precise, loopy accordion winding through a misterioso, lingering, surfy stroll with ominous bass and alto sax solos, the latter building to a spine-tingling coda…This might not just be the best debut album of the year: it might be the best album of 2014, period.”

-New York Music Daily

Press for Thumbprint

“Sankaram’s tuneful score and standout performance are well worth a listen.”
The New York Post

“A streamlined and powerful music drama, affecting exactly because it is, mostly, a direct and focussed narrative that trusts the audience to see, hear and understand exactly what is going on and what it all means…”
New York Classical Review

“Ms. Sankaram’s music, inflected with the rhythms and melismas of Indian ragas, has a driving percussive energy and a distinctive sound…the action shifted seamlessly from realistic action to stylized choreography, taking the story into the realm of myth.”
-The Wall Street Journal

“To those who complain that opera is an elitist indulgence served up to snobs in dinner jackets, New York’s latest world premiere may come as something of a shock… The score is an alluring blend of South Asian and Western music, and the production starkly innovative.”
-Agence France Press

Press for Miranda

““Miranda” is strikingly original, mainly because its principal vocal lines, which Ms. Sankaram sings in the title role, are inventively shaped, full of character and emotionally direct and authentic.”
– The New York Times

“The verdict on “Miranda”? Sankaram’s tuneful score and standout performance are well worth an hour’s listen.”
-The New York Post

“Miranda is the most exciting new show I’ve seen in this still young new year, and I’m guessing twelve months from now it will stand out among the very best theater achievements of 2012.”
-NYtheatre.com

“…a lesser composer can easily lose their voice in the din of an ill-fitting genre blend, the mix becoming a yawning void of clichés, clunky approximations, and misguided ambition. Sankaram not only escapes this void, she straps on a pair of steam-powered rollerblades and skates wild circles around it.”
-ICareIfYouListen.com

Press for Performance

“As a singer Ms. Sankaram is remarkably flexible: she seems as completely at home in a soaring operatic style as she does in the music of Philip Glass, Phil Kline, John Zorn and Anthony Braxton.”
-New York Times

“She’s probably the most powerful singer to play [fill in the name of your favorite venue – if she’s been onstage there, it’s most likely true]…Sankaram made hitting all those stratospherically high notes look like just another day at work.”
-New York Music Daily

A “versatile lyric soprano. Only moments after delivering a pop ballad, she flung out coloratura fireworks with plenty of operatic muscle.”
-New York Post

“Also, the primary three instrumentalists, who worked with a synthesizer keyboard, a Theorbo alternating with a Baroque guitar, and an electric guitar, were augmented on and off throughout the evening by the accordian and tambourine of Kamala Sankaram when this voluptuous and engaging performer wasn’t called on to sing Juno, Mercury, Dido’s sister Anna or the voice of Cupid, representing, if I can remember correctly, just about every female vocal range.”
-jameswagner.com

Press for Squeezebox

“Sankaram’s deliberately skewed appropriations of recognizable styles give the songs an elusive quality while the video is a consistent palette of identifiable “film noir” formulas. Sankaram’s original lyrics pay equal homage to pop song clichés and obscure literary references, and her accordion-heavy accompaniments (Sankaram plays the squeezebox) suggest a lounge music for speakeasies of the future. There’s a constant back and forth between ambience and anxiety, framed skillfully by the instrumentalists who perform with the vitality and rawness of a garage band. Sankaram harnesses their deliberately messy energy with her precise and relaxed singing.”
-New Music Box