Indian-American soprano Maya Kherani has been lauded for her vibrant voice and exciting characterizations in repertoire from the Baroque to the modern. Current and future projects include Messiah New York Philharmonic, Rockefeller Memorial Chapel (Chicago), Boston Baroque, Handel’s Silete venti and Vivaldi’s Vivaldi Vengo a voi, luci adorate Portland Baroque, ZERLINA Don Giovanni Boston Baroque, MARY JOHNSON in Gregory Spears’s Fellow Travelers Opera Parallèle, Muffat’s Missa in labore requires Philharmonia Baroque in San Francisco, Mahler Symphony No. 4 Vancouver Symphony; and Handel’s Belshazzar, Agrippina condotta a morire, Messiah and Bach’s Mass in A major American Bach Soloists.
Past engagements include AUTONOE in Sartorio’s Orfeo with Philippe Jaroussky Opéra National de Montpellier, Muffat’s Missa in labore requires Philharmonia Baroque Orchestra, DRUSILLA/FORTUNA L’incoronazione di Poppea Festival d’Aix-en-Provence and Versailles, BARBARINA Le nozze di Figaro Handel and Haydn Society, the world premiere PIPER Pay the Piper Glyndebourne, her debut with Fondazione Giorgio Cini – Seminari di Musica Antica, PARTENOPE (title role) Opera NEO, DESPINA Così fan tutte, LISETTE La Rondine, BEATRICE Three Decembers, SUSANNA Le Nozze di Figaro and BELINDA Dido and Aeneas Opera San Jose, POLLY PEACHUM The Threepenny Opera West Edge Opera, Reena Esmail’s Meri Sakhi Ki Avaaz (My Sister’s Voice) Berkeley Symphony, and Messiah Boston Baroque and Portland Baroque Orchestra.
Additional engagements include ALTISIDORE in Boismortier’s Don Quichotte chez la Duchesse at Central City Opera, MEERA in the world première of Jack Perla’s River of Light Houston Grand Opera, BRITOMARTE in Martín y Soler’s L’arbore di Diana (The Chastity Tree) West Edge Opera, JILL in the world première of Jack and Jill and the Happening Hill Salt Marsh Opera, ROSINA Cinnabar Theater; Laura Kaminsky’s Today It Rains Opera Parallèle; the title role of SEMELE Pocket Opera, and FRASQUITA Carmen and MUSETTA La Bohème West Bay Opera.
Maya Kherani studied at Princeton University, San Francisco Conservatory of Music and Boston University Opera Institute.
Emma Ventris
Mobile: + 44 (0) 7780315176
Email: emma@atholestill.co.uk
Representation: Worldwide
News | Maya Kherani
News | Maya Kherani
"From her opening ornate aria, Maya Kherani’s Partenope sailed through Handel’s effusive coloratura with gleaming precision and impassioned conviction. She dominated this production the same way an excellent Violetta commands Verdi’s La Traviata."
Ken Herman, San Diego Story, Aug 6 2018
"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..."
Adam Broner, Repeat Performances, Oct 22 2016
"Maya Kherani in fact makes a perfect Susanna, pretending helplessness in the manner of an Indian "bruha" archetype as she schemes her way through one crisis after another. Her singing is the same, understated but packed with small, well-crafted touches. Her cadenza at the end of "Deh vieni, non tardar" proved exceptionally artful and moving, even with the knowledge that she was really just playing a prank on her new husband."
Operaville
"At the center of the production are two glorious performances by Efraín Solís in the title role and Maya Kherani as Susanna (...) both possess gorgeously expressive voices and warm and uncommonly winning stage presences. They sang beautifully throughout, bringing nuance and a lively musicality to Mozart's melodies while clearly articulating the text and playing the underlying emotions (...) Kherani's meltingly tender "Deh vieni non tardar" aria, which was the highlight of the entire performance. The sheer beauty of Kherani's golden soprano is a wonder, as is her ability to infuse her character with spunk and wit (...)"
BroadwayWorld
