Maya Kherani
.jpg)
"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."
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 upcoming projects include a debut at the Festival d’Aix-en-Provence and Château de Versailles as DRUSILLA/FORTUNA in L’incoronazione di Poppea with Leonardo García Alarcón; AUTONOE in Sartorio’s Orfeo with Philippe Jaroussky with Opéra national de Montpellier; Muffat’s Missa in labore requies with Richard Egarr and Philharmonia Baroque Orchestra; Mahler's Symphony No. 4 with Vancouver Symphony and Otto Tausk; NITOCRIS in Handel’s Belshazzar, Messiah and Bach’s Mass in A major with Jeffrey Thomas and American Bach Soloists; a world premiere project as PIPER Pay the Piper at Glyndebourne with Johann Stuckenbruck and PSAPPHA; Messiah with Boston Baroque (Martin Pearlman) and Portland Baroque Orchestra (Gabriel Crouch), Reena Esmail’s Meri Sakhi Ki Avaaz (My Sister’s Voice) with Berkeley Symphony; SUSANNA in Le Nozze di Figaro at Opera San Jose, and PROSERPINA/EURIDICE in L'Orfeo with Pacific MusicWorks and Stephen Stubbs, to be recorded for commercial release.
What Opera Singers Gained, and Lost, Performing While Pregnant
More than five years after the #MeToo movement sparked an overdue investigation of sexual harassment and misconduct in classical music, the field is buzzing with voices calling for more equity around pregnancy and parenthood.
