Sonal commenced her recital with a Mangalacharan. It was an invocation of Bhoomi Devi Shladevala. Gurus and the audience. The charya poem was a composition of the Oriya poet Krishnapadh. The literature was retreived from Tibet to where it had travelled. Next was a Pallavi in Sri Raga. Sri Raga in Oriya music is distinct from the raga of the same name in Hindustani and Carnatic music. The raga swaroopa was depicted as a beautiful woman and as vasanthakal (spring season) It was followed by the arohana and the avarohana with nritta patterns, and each note denoting an animal sound.

'Ramate Yamunapulinavance' an ashtapadi from Jayadeva's Geeta Govinda featured Sonal as a sad and dejected nayika ie Radha. Radha is inconsolable during her separation from Krishna and imagines him being with another woman. This triggers off feelings of jealousy and torment. The portrayal by Sonal was very sensitive and intense.

'Soonya mahari' a song incorporating Buddhist Dutrik tradition was taken up next. Unusally so, the male is in an inferior postion. The divine being, in this case, the shabri or tribal woman invites the male in a dialogue. She says if you want to experience supreme bliss, stop your nervous chattering and let me guide you. The reference is to a physical as well as a metaphysical state.

Sonal Mansingh concluded her recital with a pure nritta piece, Natangi, a composition of Late Guru Devaprasad Das. This item was danced at the Puri Jagannath temple on ocassion as part of the upachara to God, or at the end of a programme. Sonal did justice to the continuous nritta patterns with the grace and stamine she is acclaimed for. Vankim Sethi was excellent as the vocalist. Profulla Mangaraj with the percussion supported Sonal in her nritta. Raj Kishore on the flute and Subrata Dey on the sitar were also very good.