Reviews
Free Press Journal, Bombay, March 1963
This promosing disciple of the late Pandit D.V.Paluskar has acquired the knack of making his presentations insteresting, without in the least sacrificing their grammatical content.Indian Express, Bombay May 1964
Sharad Sathe, who offered Basant-Bahar, revealed a happy fusion of intellect and emotion in his singing style.Statesman, Calcutta, November 1969
Sharad Sathe, a singer from Bombay, made a good impression on his first public appearance in Calcutta. A disciple of the late Pandit D.V.Paluskar, Prof. B.R.Deodhar and Pandit Sharadchandra Arolkar, Mr. Sathe mainly follows the Gwalior Gharana.Times of India, Bombay, December 1972
His exposition of Yaman Kalyan in tarana vilambit (his guru's speciality) followed by drut and a faster tarana showed the new and deeper dimensions he has happily acquired as a gifted vocalist.Times of India, Bombay, October 1975
Sathe in great formBharat Mail, Patna, August 1976
The participating artistes, vocalist Sharad Sathe and sitarist Abdul Halim Jafer Khan, took the crowded auditorium to great heights by their scintillating recitals. Sathe came first to render khayal and tarana in drut each in Prabhat Bhairav and Gujri Todi...All these revealed a high standard of professional and artistic attainment.
Sharad Sathe of Bombay sang khayals in Raag Gaudmalhar making skillful and intelligent use of meend, murki and taans.Times of India, Bombay, September 1977
Top standard recital by Sharad Sathe.Acharan, Gwalior, December 1979
Sharad Sathe was rewardingly benefited from the guidance of the late D.V.Paluskar, B.R.Deodhar and Sharadchandra Arolkar, all noted exponents of the hoary Gwalior Gayaki. His singing, as a result, presents an intricate and often complex amalgam of his masters' styles. His Lalit and Todi khayals in vilambit and tarana deserve special mention in this regard.
In the second session of the Tansen Festival, Sharad Sathe came out with flying colours in the khayal and tarana presentations in raag Todi and tappa.Economic Times, Calcutta, June 1983
Sharad Sathe was rewardingly benefited from the tutelage of the late D.V.Paluskar, B.R.Deodhar and Sharadchandra Arolkar, all noted exponents of the hoary Gwalior Gayaki. From out of the intricate and complex amalgam of their styles has emerged a vocalism which is essentially his own.Times of India, February 1984
One was reminded of Pandit D.V.Paluskar when Sharad Sathe sang Darbari Kanada and a bhajan on Sunday at the 31st Haridas Sangeet Sammelan.Hindustan Times, Delhi, August 1984
The highlight of the morning session was Sharad Sathe's vocal recital...Sathe enchanted the audience by his khayals in Jounpuri, Shukla-Bilawal and a bhajan.Tarun Bharat, Pune, December 1985
Sharad Sathe's rendering of khayals in Kamod and Paraj heard in the Sawai Gandharva Festival and sung in an authentic style of Gwalior Gharana, were quite pleasing.The Statesman, Calcutta, 1986
Jhankar Music Circle presented Sharad Sathe from Bombay...Sathe is a well known vocalist with a repertoire of authentic Gwalior Khayals and taranas. It was a pleasure to listen to this artiste's rendering of the meditative Sandhiprakash Raag Poorvi.The Independent, Bombay, May 1992
Sathe began with a detailed depiction of Miyan ki Todi. The Gwalior Gayaki believes in deploying various kampit gamaks and andolans to heighten the effect of the song. And Sathe used these inflections effectively.Sunday Observer, May 1992
His teen taal tarana was sensationally joyful and contained all the rhythmic symmetries that are demanded by this form of music composition.Gavkari, Nasik,August 2003
Pandit Sharad Sathe's performance held on the occasion of Pandit Vishnu Digambar Paluskar's anniversary took the discerning listeners to greater heights.Times of India, Pune, April 2004
Sunday morning proved to be a great treat indeed for music lovers in the city as renowned vocalist Pandit Sharad Sathe regaled an august audience with his mellifluous voice. Sathe combined technical brilliance with aesthetic excellence in his rendition of various ragas.Gomantak, Goa, September 2005
A very high standard of professional and soulful vocal music was evident in Pandit Sharad Sathe's rendering of ragas Multani, Poorvi and Bhairavi bhajan.Hindu, Bangalore, December 2005
Scion of a regal style. Pandit Sharad Sathe is a treasure trove of the rich repertoire of the Gwaloir gharana. Great mastery over his music, a grand lineage and a vibrant gharana-- all were simultaneously evident in Pandit Sathe's performance in Bangalore recently.Sakal, Kolhapur, June 2007
In an entertaining recital at the Deval Club, Pandit Sharad Sathe rendered khayals in Pooriya-Kalyan and Gaud Malhar which were studded with all characteristics of Gwalior gayaki. His Bhairavi bhajan had rich emotional content.Hindustan, Lucknow, September 2007
Pandit Sharad Sathe's vocal recital at the Bhatkhande anniversary was quite impressive, capturing hearts of the listeners. His Shuddha- Kalyan revealed salient features of Gwalior gayaki.Lokmat, Pune, December 2008
Pandit Sharad Sathe presented a khayalnuma in Yaman and a tappa in Khamaj. He excelled in presenting these rare forms of vocal music with commendable ease and expression.
