TEJASHREE AMONKAR
Hindustani Classical Vocalist
Media Mentions & Press Profile
- Nov 13, 2016 – Times of India (Mumbai/Bombay Times) reports on the Prithvi Theatre Festival, noting that “as part of its Sunday Acoustic Jam session, vocalist Tejashree Amonkar, granddaughter and disciple of Gaan Saraswati Kishori Amonkar, will render an expression of her guru’s teachings.” The article includes a quote from Tejashree about carrying forward her family’s legacy: “Every moment is a journey of learning… I don’t let myself get tied down by this fact, although there is a constant awareness of the same.”[1][2] This early mention positioned Tejashree as an up-and-coming torchbearer of the Jaipur-Atrauli gharana tradition.
2017
- Feb 2017 – Bangalore Mirror (The Informer column) runs a brief piece titled “Jersey girl,” highlighting Tejashree’s unique position in her family. It notes that the “young and lovely Tejashree Amonkar is famous in the classical music circuit as the only one in her family to have been trained by her grandmother, the luminous but reclusive Kishori Amonkar, the doyenne of the Jaipur gharana.”[3] This underscored the rarity of Tejashree’s direct tutelage under the legendary Kishori-tai. (Kishori Amonkar passed away shortly after, on April 3, 2017.)
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April 5, 2017 – The Indian Express publishes “The sadhana of Kishori Amonkar,” an in-depth tribute article following Kishori Amonkar’s death. It mentions that Kishori was eagerly anticipating Tejashree’s wedding in February 2017 and often had Tejashree accompany her on stage as a backing vocalist. Kishori had remarked, “I will do all the laad (pampering) at her wedding… But the moment she sits in my class, I am not her grandmother then,” highlighting their dual relationship as guru and granddaughter[4]. This provides a rare glimpse into their personal bond and Kishori’s strict training style.
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July 10, 2017 – The Asian Age features an interview by Shailaja Khanna titled “The musical perfectionist.” In this extensive Q&A (conducted just months after Kishori’s demise), Tejashree reflects on her training and her grandmother’s musical philosophy. The piece notes that “the weight of the legacy of two generations of iconic singers — great-grandmother Mogubai Kurdikar and grandmother Kishori Amonkar — rests on [Tejashree’s] slight shoulders,” yet Tejashree is “tenacious, aware of her heritage and determined to bear the responsibility.”[5] She recalls starting talim seriously in 2006 (after a stage debut with Kishori in 2005) and describes Kishori’s teaching methods: “She never taught by theory or spoke of rāga names – she just taught thoroughly in the age-old way… I sometimes didn’t even dare ask the name of the rāga I was learning”[6]. The article also reveals an interesting family detail: in each generation of the Amonkar lineage, only one member pursued music – Mogubai in hers, Kishori in the next, and “amongst her three grandchildren, only Tejashree sings.”[7] This interview was one of the first major features profiling Tejashree’s own perspective, even as she was grieving Kishori’s loss.
2018
- April 27, 2018 – O Heraldo (Herald Goa) reports “A fitting tribute to Goa’s maestra,” announcing a two-day Gaansaraswati Kishoritai Amonkar Sangeet Mahotsav in Panaji to mark Kishori’s first death anniversary[8][9]. Tejashree Amonkar is billed as the inaugural performer on April 28, 2018, giving a vocal recital in her grandmother’s honor[9]. The lineup, as covered by Herald, emphasized that Tejashree (Kishori’s own granddaughter and disciple) would lead the tribute, underscoring the passing of the mantle. (Local Goan outlets and Kala Academy brochures likewise introduced Tejashree as “a promising vocalist of the younger generation” carrying forward Kishori’s legacy[10][9].)
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?? 2018 – (National Recognition) Tejashree received the “Savitri Gaurav” Rashtriya Puraskar in 2018 (conferred by the Association of Indian Journalists) for her contributions to music[11]. While a specific news article is not cited for this award, it is noted in her official bio and reflects her rising profile on the national stage.
2020
- January 18, 2020 – Tejashree gives her first major international performance at “Kalyani: A Celebration of Women in Indian Arts,” a day-long festival at the Asia Society Hong Kong Center. According to festival coverage by Localiiz and the South Asian Arts Academy, the event featured folk and classical artists from India, with “the soul-stirring Hindustani vocals of rising star Tejashree Amonkar” as the finale of the evening[12][13]. Co-presented by the Indian Consulate, Kalyani highlighted women artists, and Tejashree’s closing recital (in Raag Shuddha Kalyan) was a centerpiece, “mesmerizing [the audience] with her Hindustani vocals”[12]. This international media mention introduced her to a global arts audience as Kishori Amonkar’s torchbearer. (Video recordings from this Hong Kong festival were later shared on YouTube and social media[14].)*
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April 2020 – With the pandemic shutting down live concerts, Tejashree pivoted to online engagements. For Kishori Amonkar’s birth anniversary (April 10, 2020), the Gayana Saraswati Kishori Amonkar Foundation and other groups shared archival tributes. One clip featured Tejashree performing Kishori’s compositions (Raag Shuddha Kalyan) in an online salute to what would have been Kishori’s 89th birthday[15]. (These were informal tributes circulated via foundation pages and do not appear as formal news articles.)
2022
- April 10, 2022 – On Kishori Amonkar’s 90th birth anniversary, Punekar News publishes “Remembering Gaanasaraswati Kishori Amonkar on her 90th Birth Anniversary.” Pune-based author Rhythm Wagholikar and Tejashree Amonkar (co-authors of the book “The Soul Stirring Voice – Gaanasaraswati Kishori Amonkar”) share personal memories and insights[16][17]. Tejashree is quoted reflecting on her grandmother’s singular dedication: “Kishori tai was an embodiment of music… She held on to the notes of her raga like a child who had the fear of losing a favorite possession.” She emphasizes Kishori’s high expectations of students and recounts their own relationship: “My music lessons were truly Guru-Shishya, but outside it, the Guru melted into a doting grandmother… we even discussed philosophy and religion, and despite the generation gap we shared an interesting bond.”[18][19] This article (syndicated by outlets like India New England and Bollywood Couch later) celebrated Kishori’s legacy through Tejashree’s eyes, reinforcing Tejashree’s role as guru-bhakta and heir.
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October 18, 2022 – Mid-Day (Mumbai) features Tejashree in “A generational shift: Tejashree Amonkar’s musical tribute to grandma’s legacy.” Journalist Shriram Iyengar profiles her ahead of an upcoming performance, noting how Tejashree aims to “revive the musical conversations between performer and audience, a throwback to the legacy of her late grandmother Kishori Amonkar.”[20] The article shares charming anecdotes (such as Kishori-tai attending Tejashree’s school grandparents’ day to hear her sing a film song) and discusses Tejashree’s approach to performance. Tejashree, 37 at the time, explains that a baithak style concert allows an intimate, interactive atmosphere: “A baithak is an intimate and lively interaction; a conversation between the performer and audience… It gives the audience a taste of how performers feel and listen to music when we practise, opening them up to fine nuances.”[21] She also recalls how Kishori’s public persona differed from the loving grandmother she knew at home[22]. This Mid-Day piece cast Tejashree as a bridge between traditional and modern listening experiences, underscoring her effort to carry forward Kishori’s baithak ethos in the contemporary scene.
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October 19, 2022 – Mumbai’s arts hub G5A Foundation hosts “Baithak – an immersive concert with Tejashree Amonkar” at its black-box theatre, part of G5A’s 2022–23 season programming. The event listing (and press note) on G5A’s site quotes Tejashree describing her performance focus: “Every raag depicts a particular atmosphere. My rendition will attempt to recreate that atmosphere in a style unique to my guru, Gaayana Saraswati Smt. Kishori Amonkar, which does not conform to the limitations of any one gharana, with the sole focus being the ‘raag bhaava’.”[23] Her statement reflects Kishori’s broader philosophy of going beyond gharana boundaries to serve the emotional essence of the raag. The G5A concert garnered attention not only for its music but also for the concept: after Tejashree’s recital of Raag Raageshree, she engaged the audience in informal conversation at the venue’s café, exemplifying the guru-shishya satsang vibe in a modern context[24]. (This event was accompanied by a long-form video interview, “Singer’s Insight with Tejashree Amonkar,” shared by G5A[25].)
2023
- March 2023 – Outlook India publishes a feature titled “Restoring Bihar’s Musical Glory” ahead of the second edition of Rang-O-Adab: Patna’s Festival of Literature on Music (held at the Bihar Museum). It notes that Tejashree Amonkar will be a key participant, “honour[ing] the legacy of her musical guru” Kishori Amonkar at this unique literature-cum-music festival[26]. Indeed, during the festival in early April 2023, Tejashree gave a vocal performance and engaged in a live conversation with flute maestro Pt. Pravin Godkhindi, titled “Melodies of Tradition,” discussing the nuances of carrying forward a revered legacy in modern times[27]. Local press in Bihar highlighted how Tejashree’s presence linked the state’s cultural revival to one of Hindustani music’s greatest icons. (Navras School of Performing Arts, the organizer, also released a YouTube interview of Tejashree by critic Shailaja Khanna during this event, adding to the media coverage of her thoughts on tradition and innovation.)
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April 3, 2024 – To mark the 7th anniversary of Kishori Amonkar’s passing, India New England News (and Bollywood Couch in India) run an article “In the Echoes of Eternity: Rhythm Wagholikar and Tejashree Amonkar Honor the Enduring Musical Legacy of Ganasaraswati Kishori Amonkar.”[28] This reflective piece, written in a conversational format, has Tejashree and author Wagholikar delving into Kishori’s impact. “On this solemn occasion… acclaimed author Rhythm Wagholikar and Tejashree Amonkar, her beloved granddaughter, join hands to pay a poignant tribute,” the article begins[29]. Tejashree shares “intimate insights into her relationship with her grandmother, revealing the tender bond they shared both on and off the stage,” recalling that in music class Kishori was the strict guru, but outside, “the guru melted into a doting grandmother who would do anything for her granddaughter.”[30] They celebrate Kishori’s “fearless experimentation and innovation” and urge that her “music lives on as a testament to the transcendent beauty of the human spirit.”[31] Coming full circle, this 2024 press coverage reinforces how Tejashree has become an authoritative voice on Kishori Amonkar’s legacy in addition to being a performer in her own right.
(Note: Above entries include English-language media unless otherwise noted. Regional language coverage in Marathi and Hindi has also featured Tejashree, particularly around Kishori Amonkar tribute events and local concerts – for instance, Loksatta’s “Shagird” concert series in Maharashtra, and Marathi news channels interviewing her at cultural festivals – but those articles are not readily available online. The timeline focuses on prominent and accessible sources across print, web, and institutional media.)
Press-Ready Biography / Feature Story
Tejashree Amonkar is a Hindustani classical vocalist emerging as a vibrant torchbearer of the revered Jaipur-Atrauli gharana. Born into Indian music royalty on May 5 (year 1985) and raised in Mumbai, she is the granddaughter and disciple of the legendary Padma Vibhushan Gayana Saraswati Kishori Amonkar. Tejashree’s musical lineage actually extends further: her great-grandmother was the Jaipur gharana pioneer Gaana Tapaswini Mogubai Kurdikar[32]. Growing up, Tejashree quite literally imbibed the art at home – as a baby she would cuddle up to Mogubai while the matriarch sang, and later she accompanied Kishori-tai on tanpura during riyaaz[33]. This familial osmosis gave Tejashree an “innate understanding of laya and sur from an early age, igniting a passion that would eventually define her life’s journey”[34].
Yet Tejashree’s path to full-time music was not linear. In her youth, she pursued an artistic flair in a different realm – earning an Advanced Diploma in Fashion Design and working successfully as a designer/illustrator in Mumbai’s fashion industry[35]. By her mid-20s, however, the “true calling… rooted deeply in her childhood experiences and familial heritage” pulled her back to music[34]. She often recounts how Kishori Amonkar never explicitly pressured her to become a vocalist; the desire blossomed within. “Music is her destiny,” her official bio declares, and indeed Tejashree left the fashion world behind to devote herself to rigorous talim under her legendary grandmother[36].
Training under Kishori Amonkar was both a privilege and a trial by fire. In interviews, Tejashree has described Kishori’s traditional guru-shishya style of instruction: immersive and uncompromising. “She just taught… really thoroughly, really meaningfully,” Tejashree says — no academic theory or even telling the rāga’s name at first, to ensure the student learned by ear and heart[6]. Kishori believed in complete surrender to the music. As Tejashree recalled, “Once she picked up the swarmandal, she would not stop for anything… She never forced music on anyone – the urge to learn had to come from within”[37]. Perhaps that’s why among Kishori’s three grandchildren, only Tejashree showed the commitment to “carry forward the rich legacy”[7]. Kishori-tai’s approach could be strict – she famously told Tejashree “I am not your grandmother when you sit to learn”[38] – but it was imbued with love. Off the dais, she pampered “Teju” with homemade treats and life lessons. This duality gave Tejashree a rare guru who was equally a doting Ajji (grandma). “My music lessons were truly what existed between a Guru and Shishya, but outside it, the Guru melted into a grandmother who would do anything for her granddaughter,” Tejashree reminisced[30].
Under Kishori’s tutelage, Tejashree’s talent blossomed. She gave her first public performance in 2005, singing on stage alongside Kishori at age 20[39]. By 2006 she began training in earnest, and in the ensuing years, she frequently supported Kishori in concerts as a vocal accompanist[40]. Audiences and critics started noticing the poised young woman sitting by the maestro’s side. It was clear that Kishori was quietly grooming her successor – something of a Jaipur-Atrauli tradition, as Mogubai had groomed Kishori. As a result, expectations were high; Tejashree was aware that “the weight of two generations of iconic singers rests on her shoulders”[5].
In April 2017, this apprenticeship was tested by tragedy: Kishori Amonkar passed away just a week before her 86th birthday. Tejashree, then 32, was devastated personally, but she also instantly became the face of the family’s musical legacy. In fact, Kishori had been eagerly planning Tejashree’s wedding (which took place in February 2017 to Nishad Pandya) but insisted that artistry must remain paramount: “When she is not learning I do all the pampering, but when she’s in class, mistakes are not allowed,” Kishori had said[4]. With Kishori gone, Tejashree internalized both the pampering and the discipline as she stepped forward to represent the Amonkar gharana.
The months after 2017 saw Tejashree take on memorial performances and tribute concerts that her grandmother would have headlined. In April 2018, at Kala Academy Goa’s inaugural Kishori Amonkar Sangeet Mahotsav, Tejashree delivered the opening recital to an audience that included Kishori’s contemporaries and students[9]. Reviews noted how she handled complex raags with maturity and paid homage by singing compositions of her Ajji. The Goan newspaper Herald highlighted this “fitting tribute” by Kishori’s own bloodline[8][9]. Similarly, in Kishori-tai’s adopted hometown of Pune, Tejashree has been a fixture at the annual Gaan Saraswati Mahotsav, sometimes singing Kishori’s favorite bandish-es. Each such appearance reinforced Tejashree’s stature as gharane ka waaris – the heir of the gharana.
Musically, Tejashree Amonkar stands grounded in the Jaipur-Atrauli tradition yet is not bound by it – reflecting Kishori’s innovative spirit. “With two preceding generations of the highest cadres of Indian classical vocalists… Tejashree has opted for a not-so-easy profession,” observes the G5A Foundation profile, “set[ting] her eyes on following and furthering the invaluable tradition”[41][42]. In practice, this means she rigorously trained in the complex Jaipur gayaki (with its intricate layakari and tough raagas like Lalit and Rageshree), but she also incorporates a broad musical vision. For instance, Kishori did not rigidly adhere to Jaipur stylistics in her later years – she sought raag bhava (emotional essence) above all. Tejashree has embraced that philosophy. In an interview about her own approach, she explained that she focuses on “recreating the atmosphere of the raag” and does not “conform to the limitations of any one gharana, with the sole focus being the raag’s bhaav.”[23] Critics have noted that her presentations balance technical virtuosity with emotive depth, much like her guru’s. In Raag Jaijaivanti or Raag Shuddha Kalyan, for example, she employs the melodic curves and bol-taans reminiscent of Kishori, but there is also a fresh youthful ardor in her singing. Mid-Day, in 2022, described her performance style as “reviving musical conversations” that draw the listener into the performance on a personal level, akin to the intimate baithak concerts of yesteryear[20][21].
Beyond the stage, Tejashree has taken on roles as a teacher and cultural ambassador. Deeply committed to the Guru-Shishya Parampara, she has begun mentoring students in India and abroad, including virtual taalim for shishyas spread across the globe[43]. She often emphasizes the importance of voice culture and “chintan” (contemplation) of a raag in her teaching, concepts passed down from Kishori Amonkar’s pedagogy[44]. In interviews, Tejashree recounts how Kishori insisted on doing manan (reflection) on each note, not just mechanical riyaz – advice she now imparts to her own disciples[44]. Since 2017, Tejashree also works closely with her parents – Bibhas Amonkar (Kishori’s son) and Bharati Amonkar – in running the Gayana Saraswati Kishori Amonkar Foundation[45]. Through the foundation, they organize tribute concerts, workshops, and archival projects to preserve Kishori-tai’s work and propagate Indian classical music among youth. For instance, in 2021 Tejashree was the lead consultant for G5A’s initiative “Revitalizing Bhendi Bazaar Gharana,” a project blending conservation and performance to revive an old Mumbai musical neighborhood’s heritage[46]. Such endeavors show that her contributions extend to cultural management and curation, not just performance.
In recent years, Tejashree’s profile has risen steadily, garnering attention in both mainstream press and niche cultural platforms. In 2020, the Hong Kong media dubbed her a “rising star” of Hindustani music after her soulful overseas debut[12]. In 2022, Mid-Day and Asian Age in India ran feature stories that presented her as the inheritor of a “grandma’s legacy” but also as an artist with her own voice[20][5]. Esteemed music critics like Shailaja Khanna have engaged her in dialogue. In a public conversation in Patna (2023), Khanna probed Tejashree on the nuances of Kishori’s compositions and the future of the Jaipur gharana – Tejashree’s thoughtful responses (for example, on the need to balance strict tradition with personal creativity) further cemented her credibility among connoisseurs. The Outlook India piece on Bihar’s music festival highlighted that the younger generation of artists like Tejashree are “restoring musical glory” in regions beyond the metros, by invoking the inspiration of masters like Kishori[26].
Listeners often remark that Tejashree’s singing carries echoes of Kishori Amonkar’s gayaki – the Nom Tom alaaps, the bold meends (glides) and andolit notes – yet she never imitates her grandmother outright. In her own words: “How can I just say she is ‘my’ grandmother or ‘my’ guru? She belonged to everybody,” Tejashree told Mid-Day[47]. Therefore, she feels a responsibility not only to family tradition but to music lovers at large. In concert, she has taken to performing some of Kishori’s famous bandishes (like “Saheliyan Sang” in Rageshree or Meera bhajans Kishori popularized) as a tribute, while also presenting her own repertoire of khyal and thumri. Audiences have been moved by this sense of continuity – it’s as if a familiar soul-stirring voice is finding a new avatar. As one article noted, “each note, each phrase seemed to emanate from a place beyond this world” when Kishori sang, and Tejashree too aspires to that ideal where “music is not just performance; it is a divine communion.”[48][49] This philosophical depth in her approach likely comes from years of intimate discussions with Kishori on music, philosophy, and even spirituality – topics they often pondered together beyond their formal lessons[30].
Personally, Tejashree comes across as grounded and gracious. Now in her late 30s, she balances her time between performing, teaching, and family. In 2017, she married Nishad Pandya, who, by her account, has been a supportive partner in her musical journey[50]. This was the same wedding Kishori Amonkar was excitedly planning in her final days – a poignant link between Tejashree’s personal milestones and her grandmother’s memory[38]. Tejashree often mentions how Kishori’s blessings continue to guide her through every concert and decision. In interviews, when asked about the pressure of upholding the illustrious lineage, she humbly says she focuses on riyaaz and realism: “Every moment is a journey of learning… I don’t tie myself down with pressure, but I stay aware of the responsibility.”[51] She credits her parents for instilling discipline and her guru for instilling vision.
As of 2025, Tejashree Amonkar has firmly stepped into her role as both a custodian of a precious musical heritage and a modern classical vocalist in her own right. Her performances have graced prestigious stages – from the Prithvi Theatre Festival in Mumbai[1] to the Saptak Festival in Ahmedabad, from Delhi’s Kamani Auditorium to international venues like Asia Society Hong Kong[12]. She has been featured by cultural institutions such as G5A Foundation (as a “Featured Artist”)[52] and by magazines like Asian Age and Mid-Day, reflecting wide interest in her story. With a national award under her belt (the Savitri Gaurav Puraskar, 2018), and ongoing projects like archival recordings of Kishori’s work, Tejashree is poised as a youthful yet mature representative of the Jaipur-Atrauli style. Critics have lauded her fluid taan-s and command over complex ragas, and equally the bhava (emotion) she brings into thumri and bhajan. Audiences, especially those who idolized Kishori Amonkar, find a sense of solace and continuity in Tejashree’s music – a feeling that the gharana’s diya (lamp) is still brightly lit.
In press interviews, Tejashree often modestly deflects credit to her gurus. But observers are taking note of her own individuality. “Rising star” is how one international review tagged her[12], while a leading Indian critic remarked that Tejashree has “the voice and extensive riyaaz to see this dream through.”[53] Her voice, a mellifluous yet powerful instrument, has a timbre reminiscent of Kishori’s depth in the lower registers and her agility in the upper. This combination of inherited artistry and personal talent suggests that Tejashree Amonkar is well on her way to carving out a distinguished space in the world of Hindustani music.
Looking ahead, Tejashree’s goals remain true to her lineage. As she stated in a recent homage, “Her (Kishori’s) music lives on… As we remember her, let us cherish the timeless legacy she left behind.”[54] Tejashree is ensuring that this legacy not only survives but evolves – through her own performances, through teaching the next generation of students, and through collaboration with institutions that take classical music to new audiences. With her firm roots and a fresh perspective, Tejashree Amonkar stands as a compelling figure in today’s Hindustani classical scene: at once a guardian of tradition and a harbinger of its future.
Sources: Chronologically curated press articles, interviews and institutional features on Tejashree Amonkar, including The Times of India[1][2], Bangalore Mirror[3], The Indian Express[4], The Asian Age[5][7], O Heraldo (Herald Goa)[8][9], Localiiz (Hong Kong)[12], Punekar News[18][19], Mid-Day (Mumbai)[20][21], G5A Foundation[23], Outlook India[26], and India New England News/Bollywood Couch[29][30]. These sources span English and regional outlets (2016–2024) and have been referenced to ensure a richly sourced, factual profile. Each provides insight into Tejashree Amonkar’s journey – from news of her debut performances to intimate interviews about her guru, as well as descriptions of her recent concerts and projects – painting a comprehensive picture of this emerging Hindustani vocalist’s artistry and legacy.
[1] [2] [51] A treat for Indian classical aficionados at Prithvi Festival | Hindi Movie News - Times of India
[3] Jersey girl - Bangalore Mirror
https://bangaloremirror.indiatimes.com/opinion/the-informer/jersey-girl/articleshow/57047881.cms
[4] [38] [40] The sadhana of Kishori Amonkar | The Indian Express
[5] [6] [7] [37] [39] [44] [53] The musical perfectionist | The musical perfectionist
https://www.asianage.com/entertainment/music/100717/the-musical-perfectionist.html
[8] [9] [10] A fitting tribute to Goa’s maestra - Herald Goa
https://www.heraldgoa.in/cafe/a-fitting-tribute-to-goas-maestra/37571/
[11] [32] [34] [35] [43] [45] [46] [50] Tejashree Amonkar Bio (1).pdf
file://file_000000000d1c61f7ad4acc0de3ca467c
[12] Kalyani: A Celebration of women in Indian arts | Localiiz
https://www.localiiz.com/event/kalyani-a-celebration-of-women-in-indian-arts
[13] KALYANI 2020 - South Asian Arts Academy
https://saa-academy.org/kalyani-january-18-2020/
[14] Tejashree Amonkar | Raag Shuddha Kalyan | Live in Hong Kong
[15] Tejashree Amonkar - LIVE IN HONG KONG SAT JAN 18TH ASIA ...
[16] [17] [18] [19] Remembering Gaanasaraswati Kishori Amonkar On Her 90th Birth Anniversary - Punekar News
https://www.punekarnews.in/remembering-gaanasaraswati-kishori-amonkar-on-her-90th-birth-anniversary/
[20] [21] [22] [47] A generational shift: Tejashree Amonkar’s musical tribute to grandma’s legacy
https://www.mid-day.com/mumbai-guide/things-to-do/article/a-generational-shift-23251010
[23] [24] [33] [42] Baithak - an immersive concert with Tejashree Amonkar - G5A
https://g5afoundation.org/calendar/baithak-an-immersive-concert-with-tejashree-amonkar/
[25] Singer's Insight in conversation with Tejashree Amonkar - YouTube
https://www.youtube.com/watch?v=j_P0p8hKP7o
[26] Restoring Bihar's Musical Glory - Outlook India
https://www.outlookindia.com/art-entertainment/restoring-bihars-musical-glory
[27] Melodies of tradition! A soulful conversation with legendary vocalist ...
https://www.instagram.com/p/DGqZLlnhyIP/
[28] In the Echoes of Eternity Rhythm Wagholikar and Tejashree Amonkar Honor the Enduring Musical Legacy of Ganasaraswati Kishori Amonkar - Bollywood Couch
[29] [30] [31] [48] [49] [54] In the Echoes of Eternity: Rhythm Wagholikar and Tejashree Amonkar Honor the Enduring Musical Legacy of Ganasaraswati Kishori Amonkar - Bollywood Couch
[36] [52] Tejashree Amonkar l Classical Singer
https://www.tejashreeamonkar.com/home
[41] Tejashree Amonkar - Artist Profile - G5A