An avid listener of Hindustani music, Lalita was drawn to it and got guidance for a short period from Ms. Kala Ramnath in Kolkata, who later introduced her to the great Hindustani maestro Sangeet Marthand Padma Vibhushan Pandit Jasraj, one of the greatest luminaries of classical music today. Lalita was indeed fortunate to be accepted as his disciple and started training under him, from 1993 onwards. She trained in the Mewati gharana and soon became a well-known exponent, with several performances, recordings and compositions to her credit.

The Mewati gharana was founded in the late 19th century by Ustad Ghagge Nazir Khan of Jodhpur. With a distinct aesthetic style, it is an offshoot of the Gwalior gharana and acquired its name after the region from which its founding exponent hailed: the Mewat region of Rajasthan. The gharana slowly gained more visibility and following the latter half of the 20th century, it gained popularity with Pt. Jasraj, who revived and popularized the gayaki style.

As she unfurls systematically a constructive alaap of Madhuvanti, the voice that started low and husky achieves myriad shades in the upper octave. Radha-Krishna themes dominate her lighter numbers, similarly for her mentor. Yet, she is fully conscious of the grammar, the idiom and other technicalities and not for a moment takes her audience for granted. To an uninitiated crowd, she tries to etch out the parallels between South and North Indian music streams, familiarizing them with the ragas and the meaning of the bandishes. Even though Kolkata was to adopt her, she is the typical Tanjore girl, her parents hailing from the South.