Dernieres Nouvelles d'Alsace, Strasbourg, April 2002

"En seconde partie, Anita Roy, chanteuse reconnue ࠴raverse le monde, a envo?a salle sa voix, l'utilisant comme un v鲩table instrument. Les quleque 300 spectateurs ont 鴩 conquis par ce concert exceptionnel et transcendant."


Main Post, Wurzburg, May 2002

Ein warmer, kosmischer Atem geht von der "Intonation to God" aus, die die indische Musikerin Shrimati Anita Roy den hinduistischen Gotthieten darbringt. Sie begleitet die locker perlenden, zarten kl䮧e mit der sirrenden Taanpura, einem viersaitigen bauchigen Instrument mit langem Hals. Raum und Zeit flieߥn ineinander, l? sich auf, ein teppich meditativer T?voller Magie l䤴 die lauschenden Menschen aus allen Ecken der welt zur Ruhe ein.


Express Newsline, May 2000

"The capacity to traverse to the upper saptak with mellifluous ease is the artiste (Anita Roy) special forte, bespeaking of her immense tayyari (maturity)- making the taan patterning her hallmark, offering in her rendition as she presents them in a compact rhythm of a faster tempo in a category all of its own, is proof of her maturity."


Indian Express, New Delhi, February 1999

"Infact, her (Anita Roy) style manages to acquire a discreet amalgam of her gurus in a manner that is both unique and distinct."


The Hindustan Times, New Delhi, February 1997

"She (Anita Roy) is an artiste gifted with a rich, powerful and sweet voice which deserves airing."


The Hindu, New Delhi, February 1997

"Anita by all accounts is a singer with potentialities in her voce approach to sur (tunefulness) urge for sense of melodic beauty and the correct perspective towards raga and rasa."


The Statesman (Kolkata) September 1990

"Anita Roy of Delhi performed in Kolkata invited by Padatik and Jhankar Music Centre. Anita made a good impression on her audience by her tuneful voice, reposeful vistar and clear sapat taans. She had chosen ragas puria-kalyan and kedar for her Padatik performance. Perhaps she was hard-pressed for time, for they were sketchily rendered. In Jhankar, she could do full justice to the ragas of her choice."


The Hindustan Times, New Delhi, November 1988
- Concert in commemoration of tribute to Nehru123

"The concert commenced with an orchestra by students of Partho Das and Anita Roy in raga yaman. It was supported by vocal music and quite well done. Anita Roy's vocal recital was a neat exposition of rageshwari through two khyals with understanding accompaniments by Fayaz khan on the tabla and Pandit Inder Lal on sarangi. Her taans were well rendered."


The Sunday Statesman, New Delhi, June 1984

"Anita Roy's khyal in the Tuesday night Concert of June 5, in Bihag and in Rageshwari were pleasing as she rendered slow khyal's asthayee and antara besides the first round of sargams which followed."


The Fortnight Journal of All India Radio, Akashvani, June 1984

"Anita Roy's specialty of the classical music lies in weaving beautiful and systematic patterns in alap and bol-alap, she also renders fast taans admirably."


The Hindustan Times, Delhi, November 1981

"?Anita Roy opened her recital vilambit khyal in Yaman exhibiting a pleasant, reposeful style and bringing out the proper mood of the raga. Her attempts at modulation were creditable. She has perfected the falsetto style of rendering?"


The Sunday Statesman, July 1978

"Bilaskhanitodi was intelligently rendered by Anita Roy. Her rapid utterance was clear and conformable to raga's form (Delhi, Wednesday)."


The Motherland, New Delhi, August 1973

"Anita Roy, a new comer in the field tutored by late Ustad Mustaq Hussain Khan, rendered Yaman, in a voice full of melody and tranquil calm. In a sustained melody starting from slow vilambit and climaxing in a fast drut she brought out the serenity and beauty inherent in the raga. A particular feature of her style was the way she would stand on a basic note associated with the raga and recede her voice gradually and beautifully till it would recede to a nocturnal hush disturbed only by the continuous flow of melody emanating from the tanpuras. Later, she rendered hamsadhvani and was ably supported by Daiam Ali of Jaipur on tabla".