Various artistes performed at Bharatiya Sangeetha Vaibhavam, a three-day festival held at the Bharatiya Vidya Bhavan. T.N.Krishnan kick started the fest with solo violin recital, which gave freshness to Carnatic music. He consciously mixed delightful elements to bring about charm. The way he presented Bilahari ("Paridaanamichchite"), a mix of tradition and singularity, spoke of his sangita anubhava. The alapana with elements of captivating sancharas made the raga a beauty. Kharaharapriya and the kirtana, "Rama Nee Samana" were inspirational.

The raga alapana, kirtana, neraval and swaras had all the good qualities and the delicacy of Abheri had been conveyed sweetly. Vellore Ramabhadran's mridangam in the company of Vaikom Gopalakrishnan (ghatam) was cool and efficient. In fact, his vision was in good harmony with T.N.Krishnan’s recital.

On the first day of the festival, Trichur Brothers essayed Amrithavarshini meditatively. 'Anandamruthakarshini' (Dikshitar-Adi) was sung really well and the swaraprastharas were also good. Then "Sri Kalahasthisa" (Huseni-Dikshitar) followed and "Gangeyavasana" (Hamirkalyani-Swati Tirunal) was rendered beautifully while "Nenarunchi" (MalaviTyagaraja) was pacy. They failed to bring out melody out of Kharaharapriya, the 22nd melakartha. The older of the brothers is energetic but the younger one is shy. "Rama Nee Samanamevaru" (Tyagaraja-Rupakam) with neraval in the Charanam "Paluku Paluku" was sung without passion and then they went on to Hamsanandi in spite of a sloppy start in Sahana while presenting a Sanskrit sloka. The brothers then switched to Sindu Bhairavi to present "Bhaja Bhaja" (Swati Tirunal).

The second day of the festival featured Vijayalakshmi Subramaniam, who has melodious voice and good patanthara. The concert was cool and the singer started with "Rangapuravihara" (Brindavanasaranga-Dikshitar-Adi), which was famous in 1960s and 1970s. Her rendition was perfect and so too the kalapramanam. Oothukkadu's "Naan Enna Thavam Seidheno" in Khamas was rendered beautifully and Keeravani was elaborated in a distinctive style. Narmada enhanced the concert with her bowing and was at ease in delineating Keeravani. A sloka in Kapi and Sindhubhairavi were followed by ''Bhavayami Gopala" (Annamacharya-Yaman Kalyani-Kandam). A. S. Ranganathan (mridangam) and A. S. Krishnan (morsing) did good job throughout the concert.