Le nozze di Figaro (West Bay Opera)

Best of all may have been soprano Maya Kherani as Susanna. Her bright tones sparkled throughout the opera, and “Deh vieni, non tardar” in Act IV was delightful. Kherani had great chemistry with her Figaro, Isaiah Musik-Ayala. Their sense of timing of the physical humor was spot on and very funny.

Charlise Tiee

San Francisco Classical Voice, Oct 18 2016

The center of their machinations, and of the opera, is Figaro’s bride-to-be, Susanna, portrayed by soprano Maya Kherani with a mischievous brightness. Her tight vibrato and nimble high notes are increasingly in demand around the Bay Area, and I most recently heard her sing as the soprano soloist in Orff’s Carmina Burana with Chora Nova, where her clear high D (yes, a note above the usual benchmark, a high C) wowed an audience. Not only is her voice astonishingly acrobatic, but her acting was so believable that in some of the smooches with Figaro, I wasn’t so sure that she was acting.

Adam Broner

Repeat Performances, Oct 22 2016

Rigoletto (Pocket Opera)

…the sensational coloratura Maya Kherani as Gilda. […]Kherani is an San Francisco Conservatory graduate and obviously an enormous talent

Janos Gereben

San Francisco Classical Voice, July 5 2016

A Midsummer Night’s Dream (BU Opera Institute)

Maya Kherani’s Tytania had the sparkling effervescence of a fine champagne from her first utterance to the final dance. Her entrance duet with Oberon had the competitive air of vocal ping-pong as Britten intended, and from the first minute we knew that this was definitely a “faery of no common rate.” Her extended cadenza of “Come now a roundel” was technically beautiful…”

Joshua Collier

Boston Music Intelligencer, April 15 2016

Maya Kherani is a divine Tytania, just a perfect fit. Her presence is powerful and glamorous, a titan among the fairies. Gillian Daniels

New England Theatre Geek, April 19 2016

Savitri / River of Light (Festival Opera)

Kherani’s account of the title role was sweet-toned and forthrightly dramatic, with a series of climactic high notes perfectly placed.[…] For the 40-minute “River of Light,” Kherani returned to give another superb performance as Meera.

Joshua Kosman

San Francisco Chronicle, Nov 16 2015

Soprano Maya Kherani sang the title role with vibrant tone. […] As Meera, Kherani returned sounding bright and infusing the role with comic flair. Georgia Rowe

San Jose Mercury News, Nov 15 2015

The two operas, so different from each other, were linked together by talented soprano Maya Kherani, who sang the roles of both Savitri and Meera. Shobha Hiatt

India West, Nov 25 2015

Capture

Read complete feature here

India Abroad

International Feature

At Shastra, we love to talk to musicians who have unique perspectives on Indian-Western crossover music. This week we caught up with Maya Kherani, Indian-American coloratura soprano, who just sang the leading roles in a historic double bill of Gustav Holst’s Savitri and Jack Perla’s River of Light. In this exclusive interview, Kherani shares a glimpse into her cultural and musical heritage, an inside look into the unique roles she sung in this production, and her thoughts on developing a multi-faceted identity through music. 

Read complete post here.

Shastra

Blog

Playing the lead character in both is Maya Kherani, an Indian-American Soprano artist. India Currents interviewed Kherani. Read complete interview here India Currents Magazine

Exclusive Interview

Don Quixote & The Duchess (Central City Opera)

These are hand-picked singers who are spending the CCO season in a nationally recognized training program, established years ago by the respected pedagogue John Moriarty. They are performers with a bright theatrical future. No surprise, then, that the cruel demands of Altisidore proved a vocal triumph for Maya Kherani, who easily traversed her treacherous passages as a servant girl or as the bewigged Queen of Japan. Not only did she seem to enjoy those zillions of notes, but Kherani also reveled in her zany acting assignments, never once stooping to mugging or shtick. Marc Shulgold

Classical Voice North America, Aug 4 2015

Everyone sang strongly, but one performer stood out: soprano Maya Kherani as Altisidore, the Duchess, who also appears as “The Queen of Japan” (Baroque opera favored foreign characters and locations, but was not strong on geographical accuracy). Her bright, strong voice and fluid dancing were notable strengths of the production. Peter Alexander

Sharps & Flatirons, July 30 2015

Soprano Maya Kherani is joyous as the Duchess, who becomes the presumed maiden Altsidore and then the Queen of Japan. Kelly Dean Hansen

Daily Camera, July 29 2015

Cendrillon (BU Opera Institute)

Maya Kherani’s fairy godmother was a striking vision: in a white, classically-influenced gown and high-piled white wig she glided from place to place with fluid arm gestures while singing Massenet’s quirky coloratura part with a brilliant voice with tight vibrato: five parts Isidora Duncan to one part Glinda the Good Witch (and I mean that as praise).

Brian Schuth

The Boston Music Intelligencer, April 17 2015

Die Fledermaus (Lamplighters Music Theatre)

The voices were beautiful, strong and pitch perfect the night I saw the performance.  The sets, staging and costumes were uplifting carried the theme perfectly.  The acting was superb as was the dancing. Maya Kherani was the standout in a cast that was outstanding. Barbara Keer

LA Splash Magazine, Feb 2014

Maya Kherani especially shone in her Lamplighters debut as Adele, a chamber maid who dreams of someday becoming an actress. Kherani has what it takes for this typical Lamplighters fare: a strong, clear voice for the troupe’s signature unamplified singing, a bright stage presence and a genuine-feeling sense of humor that comes through in her every move. Elizabeth Warnimont

Benicia Herald, Jan 27 2014

Coloratura soprano Maya Kherani sang the role of Adele, the young and flirtatious chambermaid. Kherani, who was brilliant in Opera Parallele’s recent Ainadamar, complemented high trills with delightful overacting, and reached for the dizzying runs of the “laughter” aria. Adam Broner

Repeat Performances, Feb 22 2014

Soprano Maya Kherani, who played the unrestrained opportunist maid Adele, nearly stole the operetta in every scene with her magnificent soprano voice. She did a stunning rendition of “Laughing Song.” Richard Connema

Talkin’ Broadway, Feb 2014

Newcomer Maya Kherani as Adele wowed the audience with her pert personality and vocal prowess. Susan Steinberg

The Independent, Jan 30 2014

Orpheus in the Underworld (Pocket Opera)

Even with a degree in mechanical engineering from Princeton, soprano Maya Kherani may not be able to explain how such a great, luxurious voice can project from such a slender frame. Still, as Eurydice, Kherani filled the small theater with such force that we should look forward to hearing her in the War Memorial… or, what the heck, in the Met. She further impressed with flawless theatrical presence and crystalline diction. Janos Gereben

San Francisco Classical Voice, Apr 15 2013

All of the performers were good singers and almost all were good actors, but the unquestioned star was Maya Kherani as Eurydice. She had a fine soprano voice and her facial expression and body language told her every mood, from anger to boredom to ecstasy. The Opera Nut

May 6 2013

Ainadamar (Opera Parallèle)

The most impressive singers were cast in secondary roles: soprano Maya Kherani, whose voice was focused, penetrating and lustrous, as Nuria, Xirgu’s student; and flamenco singer Jesus Montoya, who let it rip in the role of Ramón Ruiz Alonso, the Fascist persecutor of poet Lorca. Richard Scheinin

San Jose Mercury News, Feb 17 2013

They were joined by Maya Kherani, whose pure high notes as Xirgu’s student, Nuria, added a lovely top dimension. Adam Broner

Repeat Performances, Feb 16 2013

…soprano Maya Kherani was a lithe, silvery Nuria. Georgia Rowe

San Francisco Classical Voice, Feb 16 2013

Soprano Maya Kherani as Nuria has a high, easy & youthful voiceAxel Feldheim

Not For Fun Only, Feb 16 2013

All of the performances, including Kherani’s crystalline Nuria, were vocally commanding, but Breckenridge’s committed physical embodiment of Xirgu provided the continuous thread that held the production together. Sidney Chen

New Music Box, Feb 28 2013

Sweeney Todd (Redwood Symphony)

As the wretched Johanna, Maya Kherani was the most operatic singer in the cast. She gave lyric grace to Sondheim’s angular melodies, and had finely intertwining duets with Justin Marsh as Johanna’s suitor, Anthony. The strong-voiced Marsh made an Anthony with strength of character and not just a mooning lover. David Bratman

San Mateo Daily Journal, Jun 7 2013

Orlando (Pocket Opera)

Maya Kherani is amazing. The week before I had seen her perform as Eurydice and had raved about it in my review of Orpheus in the Underworld. It turns out that just a few days before that event, the soprano originally scheduled to sing Orlando had announced that she would be unable to perform, and Maya had stepped up to take on the vital role of Dorinda. So two weeks in a row I had the joy of hearing her sing and seeing her mobile and expressive face. The Opera Nut

May 10 2013

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Upcoming Engagements

July 8 & 9, 2017
FLOWER DUET
Lakmé
SF Ethnic Dance Festival
San Francisco Opera House

Aug 2017
BRITOMARTE
L’arbore di Diana
By Vincente Martin y Soler
Oakland, CA

Sept 2017
DESPINA
Cosi fan tutte
By W.A. Mozart
San Jose, CA

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LATEST: Maya wins First Place & Audience Favorite Award (Tier II), and the Masterworks Award at the James Toland Vocal Arts Competition

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