• MAYA KHERANI

    SOPRANO

  • Upcoming Engagements

    June 7-23, 2019 (9 Performances)

    Rosina

    Il barbiere di Siviglia

    Gioacchino Rossini

    Cinnabar Theater

    Petaluma, CA

    July 14, 21, 28, 2019

    Rosina

    Il barbiere di Siviglia

    Gioacchino Rossini

    Pocket Opera

    Berkeley, San Francisco, and Palo Alto, CA

    August 3, 11, & 15 2019

    Polly Peachum

    The Threepenny Opera

    Kurt Weill

    West Edge Opera

    Oakland, CA

    October 25 & 27, 2019

    Gilda

    Rigoletto

    Giuseppe Verdi

    Opera Modesto

    Modesto, CA

    April 24 & 26, 2020

    Pamina

    Die Zauberflöte

    W.A. Mozart

    Opera Modesto

    Modesto, CA

    June-July, 2020 (8 Performances)

    TBA

    TBA

    Festival d'Aix-en-Provence

    Aix-en-Provence, France

  • 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

    The student Nuria was sung with penetrating, crystalline tone by soprano Maya Kherani, who had little difficulty being heard above Golijov's dense climaxes.

    Jeffrey S. McMillan

    Opera News, May 2013

     

    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

  • About

    Praised for her “crystalline tone” by Opera News, Indian-American soprano MAYA KHERANI has been lauded for her vibrant voice and exciting characterizations in repertoire from the Baroque to the modern. San Francisco Classical Voice recognizes her as “obviously an enormous talent” and the Boston Music Intelligencer applauds her performances as evoking “the sparkling effervescence of a fine champagne.”

     

    Most recently, Ms. Kherani made a “dynamic” role debut as Musetta in La Bohème with West Bay Opera, praised for her “shimmering high notes and stunning looks.” This summer included her debut in the title role of Partenope with Opera NEO under the baton of Benjamin Bayl. For her performance San Diego Story raved, “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.”

     

    Upcoming engagements include Beck (cover) and the Quartet Soprano in the world première of Laura Kaminsky’s Today It Rains with Opera Parallèle, Rosina with Cinnabar Theater, Polly Peachum in The Threepenny Opera with West Edge Opera, and Gilda in Rigoletto and Pamina in Die Zauberflöte with Opera Modesto.

     

    This past November, Ms. Kherani made her European debut as a fellow with the Fondazione Giorgio Cini – Seminari di Musica Antica singing the modern-world première of French Baroque works from Caribbean under the direction of Pedro Memelsdorff and Sophie Daneman. She then returned this past February to sing in a follow-up program, directed by Mr. Memelsdorff and Vivica Genaux.

     

    Recent seasons featured Ms. Kherani’s mainstage company debut as Despina in Così fan tutte at Opera San Jose, where she also sang Lisette in the student matinee performance of La Rondine as well as Yvette in all other performances. Other roles last season include Britomarte with West Edge Opera in Martín y Soler’s L’arbore di Diana (The Chastity Tree), Jill in the world première of Jack and Jill and the Happening Hill with Salt Marsh Opera, the title role of Semele with Pocket Opera, and Frasquita in Carmen with West Bay Opera.

     

    In demand for new and challenging works as well as from the Baroque era, Ms. Kherani has been engaged for many world premières in her young career. In 2014, she made her Houston Grand Opera (HGOco) debut in the role of Meera in the world première of Jack Perla’s River of Light. Other premières include Neil Rolnick’s Anosmia, released by Innova Records in 2013, and Dante de Silva’s “graphic opera” Gesualdo, Prince of Madness with Opera Parallèle. In 2015, she appeared in the leading role of Altisidore in Boismortier’s Don Quichotte chez la Duchesse at Central City Opera, for which she was praised for her “vocal triumph” in the “cruel demands” of the role; critics noted that her “bright, strong voice and fluid dancing were notable strengths of the production.” A passionate interpreter of early music, Ms. Kherani has been featured with the American Bach Soloists, the San Francisco Bach Choir, the Amherst Early Music Festival, Early Music Vancouver, and the American Handel Society Festival.

     

    Ms. Kherani’s numerous awards include the 2015 McGlone Award from Central City Opera, 1st Place and Audience Favorite at the James Toland Vocal Competition (Tier II), 2nd Place at the Peter Elvins Vocal Competition (Opera Division), the Kalvelage Award at West Bay Opera’s Holt Competition, two Encouragement Awards from the Metropolitan Opera National Council Auditions, and the top overall Barlow Award at the San Francisco Bay Area NATS competition, where she also won 1st Place in both the Professional Art Song and Aria categories.

     

    Ms. Kherani holds a B.S.E. in Mechanical and Aerospace Engineering and minor in Music Performance from Princeton University, where she graduated summa cum laude and received the Isidore and Helen Sacks Award for excellence in Music Performance. While at Princeton, she was a dancer and choreographer for Naacho South Asian Dance Company. She holds a Master of Music degree from the San Francisco Conservatory of Music.

  • 38

    Roles Performed

    5

    Upcoming Role Debuts

    7

    World Premieres Sung

    14

    Awards Won

  • "Kherani’s Rosina is a witty revelation, whose comic reactions are nearly as entertaining as her superlative vocal performance."

    John Langdon, ARGUS-COURIER, June 13 2019

  • Media

    Qual farfalletta – Partenope (G.F. Handel) – 2018
    (Opera NEO / Benjamin Bayl, Conductor)

    Quando m'en vo' – La bohème (Puccini) – 2018
    (West Bay Opera / Jose Luis Moscovich, Conductor)

    L'amor ed il destin – Partenope (G.F. Handel) – 2018
    (Opera NEO / Benjamin Bayl, Conductor)

    Ach, ich fühl's - Die Zauberflöte (W.A. Mozart) - 2018

  • Social

  •  

    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

    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

    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’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

  • Contact

    MANAGEMENT

    ATHOLE STILL ARTISTS

    Worldwide Representation​

    Margaret Levine
    +44 208 771 5271
    margaret@atholestill.co.uk

    Foresters Hall
    25-27 Westow Street
    London SE19 3RY

    +44 20 8771 5271
    enquiries@atholestill.co.uk
    www.atholestill.com

     

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