Anupriya combines elements of gayiki and thankari as she is a shagird of sarangi maestro Pandit Ram Narayan, and has also sat with the famed sarod maestro Pandit Mukesh Sharma and Ustad Amjad Ali Khan. These influences form the basis of her style. She has received a senior fellowship from India's ministry of culture, and was the first Indian musician to receive the Ustad Salamat Ali and Nazakat Ali Khan Award in Lahore in December 2004.

On the first evening, her appearance was preceded by an hour on the piano by the talented Usman Anees, who presented two of Noor Jehan's filmi song melodies and a piece based on Raga Kerwani, both rendered in the western classical piano style. Anupriya played a Raga Jhog piece, with the alaap and jhor in jhapthaal and the gatt and jhala in teentaal, accompanied by Ustad Khursheed Hussain.

Her second performance featured two bandishes, the first being in Raga Rageshri with the alaap and jhor in jhapthaal and the gatt and jhala in drut teentaal. This time she was accompanied by Yousuf Karai, shagird of Ustad Khursheed Hussain, on the tabla. Anupriya's alaap in Raga Rageshri was sweet and soulful with a touch of tremolo now and then, and incredible use of the instrument's lower register, and progression from the lower notes to the highest, with the plaintive sound of the sarangi fully recognisable. She was completely at one with her violin, and while lost in the enjoyment of her art was at all times in full control. It was interesting to note the difference between her posture and that of western violinists, as well as the angle at which she held her violin. Meanwhile, Yousuf slowly and sensitively introduced his part, so that there was a good combination of firm but gentle beats on the tabla and the singing of the violin.

Entering the gatt, Anupriya introduced chord-like moments, while the tabla speeded up, and I noticed the very close eye contact between the artistes as Yousuf rendered the tehai. The audience followed them into another world, fascinated by the violin's increasing tremolo and powerful low notes. Soon it was moving in and out of the tabla rhythm, in a way somehow suggestive of a jagalbandi, as the musicians enjoyed the pleasure of complimenting each other and making variations together.

In the jhala there was vigorous bowing, while the mood of the raga was explored and improvised upon. A rapid roll on the tabla and a flourish on the sum brought spontaneous applause, and soon after this came trills like the violinist's thaans from Anupriya. Thanks to her skillful bowing technique, what had begun as slow and plaintive was now vigorous and joyous. The violin laughed, cried and spoke, and a full-bodied burst of sound in the lower register was followed by another burst of applause. Now and then in this frenzy of sound I could identify the mood of the sitar. After the final tehai came tremendous and prolonged applause, some of which must have been reserved for the considerable stamina and energy of the youthful musicians.

The next piece, in Raga Kerwani, was largely in teentaal, its mellow entry being evocative of a moonlit castle and landscape. Since this number was less flamboyant than the previous one, there was time to notice Yousuf's intense concentration on Anupriya's music and moods, and his determination to complement her to the fullest.

Apart from her brilliant performances to date in many parts of the world, Anupriya has founded the Amir Khusrau Centre for Music in Delhi to promote appreciation of classical music among the youth, besides running a fusion group in Austria. She is also scheduled to perform in Islamabad.