Charulata then chose Dikshitar's sthala kriti on the deity of Tiruvannamalai, Lord Arunachaleswarar. "Arunachala natham smarami" (Saranga) wasindeed very appropriate for the occasion. The next was once again a composition of Ramana Maharshi in Todi (Tatparanan). However, one felt that the raga swaroopa of Todi could have been brought forth more strikingly in the alapana, by a gradual step by step development. GNB's "Srichakraraja nilaye" in the rare and difficult raga, Sivasakti, could be sung by musicians more often. Charulata's rendition of the same kindled rasikas' interest.

Bhairavi is a raga that generally does not permit any hurry in its expression. Further the kriti "Balagopala" is best rendered in Chowka kala without unnecessary frills and brigas. This musical sense has always to be kept in view while rendering any raga or kriti. Some drawbacks were noticed in Charulata's exposition of this major raga. Bite only what you can chew, should be the guiding factor for upcoming musicians while attempting brigas. Finally, there is no substitute for rigorous practise, if somebody aspires to strike a mark. Lakshmi Venkataramani was good in Bhairavi. G S Krishna gave good overall support.