Sowmya expressed her opinion that a raga alapana should maintain a connection to the composition being presented. While she encouraged sticking to the prayogas inherent in the composition ...

Starting off pleasantly with Muthuswami Dikshitar’s ‘Parvati Kumaram’ in Nattakurinji, she played kalpanaswaras that had flowing raga-alapana-like elements and showed an influence of tanam.