• Schedule

    February 15 & 16, 2020


    Requiem in D minor (Robert Levin Completion)

    W.A. Mozart

    In collaboration with the Mozart Society of America and American Bach Society

    Stanford Chamber Chorale

    Stanford, CA

    March 4, 2020


    Glyndebourne Opera Cup 2020

    Composer Focus: Mozart and Massenet


    East Sussex, United Kingdom

    July 19, 2020, 4:00pm PDT

    Soprano Soloist

    Virtual Beethoven Festival

    Performing songs by Mozart, Rossini, and Purcell

    Online Livestream

    Sonoma, CA


    Resident Artist - Soprano

    Opera San Jose

    San Jose, CA

    November 22, 2020​ - 7p CST / 5p PST

    Soprano Soloist - Roussel's Deux poèmes de Ronsard

    Live with James Blanchard

    Des Moines Symphony

    Online Livestream - FREE


    December 3, 2020 - Online Premiere


    Three Decembers

    Jake Heggie

    Online Livestream




    (March 20 & 21, 2020)



    Antonio Vivaldi

    Jubilate Deo

    Dan Forrest

    Masterworks Chorale

    San Mateo, CA



    (April 24 & 26, 2020)


    Die Zauberflöte

    W.A. Mozart

    Opera Modesto

    Modesto, CA



    (July 3-18, 2020)

    Drusilla / Fortuna (Poppea Cover)

    L'incoronazione di Poppea

    Claudio Monteverdi

    Festival d'Aix-en-Provence

    Aix-en-Provence, France



    (September 12-27, 2020)


    Le nozze di Figaro

    W.A. Mozart

    Opera San Jose

    San Jose, CA



    (October 2020, Tour)

    Drusilla / Fortuna (Poppea Cover)

    L'incoronazione di Poppea

    Claudio Monteverdi

    Festival d'Aix-en-Provence

    Versailles, France



    (December 4 & 5, 2020)

    Soprano Soloist


    G.F. Handel

    Boston Baroque

    Boston, MA


    CANCELLED: January 16 & 17, 2021

    Soprano Soloist

    The Creation

    Franz Joseph Haydn

    Vancouver Symphony

    Vancouver, BC, Canada


  • Online Voice Lessons

    "The only reason for mastering technique is to make sure the
    body does not prevent the soul from expressing itself”
    - La Meri (Dancer)
    Free your voice | Gain comfort and reliability throughout your range
    Release old habits | Explore the whole body connection
    Healthy and sustainable technique | Judgment-free and supportive environment
    Students over the age of 16 are welcome

  • Maya Kherani as Polly Peachum, the waif-style heroine, offered a full-throated and rich soprano display. Plaintive and poignant, she persuaded in almost every aria, showing that she was not only up to the task of reckoning sympathy, she too could bite. Nobody’s fool, Polly, Kherani more than made her point. No classic girl done wrong here; if we expected that, we were happily disavowed.

  • 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.”


    This past season's engagements included POLLY PEACHUM in The Threepenny Opera with West Edge Opera, ROSINA with Cinnabar Theater, and BECK (cover) and the QUARTET SOPRANO in the world première of Laura Kaminsky’s Today It Rains with Opera Parallèle. Upcoming performances feature Ms. Kherani as GILDA in Rigoletto and PAMINA in Die Zauberflöte with Opera Modesto, as well as highly anticipated debuts at the Festival d'Aix-en-Provence and Boston Baroque.


    Last season, Ms. Kherani made her role 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.” She also made “dynamic” role debut as MUSETTA in La Bohème with West Bay Opera, praised for her “shimmering high notes and stunning looks.”


    Last year, 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 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 graduated summa cum laude from Princeton University with a B.S.E. in Mechanical and Aerospace Engineering and certificates (minors) in Music Performance, Materials Science, and Robotics and Intelligent Systems. At Princeton, she received the Isidore and Helen Sacks Award for excellence in Music Performance, and was a dancer and choreographer for Naacho South Asian Dance Company and a member and soloist in the Princeton University Glee Club. She holds a Master of Music degree with honors from the San Francisco Conservatory of Music and a Professional Certificate from the Boston University Opera Institute.


    She currently makes her home in Northern California with her product manager husband, a tank of fish, and a garden of succulents. When not singing, Maya enjoys playing tennis, practicing yoga, cooking keto meals, reading novels, cycling, hiking, and scuba diving.

  • 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

  • 41

    Roles Performed


    Upcoming Role Debuts


    World Premieres Sung


    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

    Music for a While– Henry Purcell – 2020

    Valley of the Moon Festival with Francisco Fullana, violin | Liana Bérubé, viola | Tanya Tomkins, cello

    Barbara Song (excerpt) – The Threepenny Opera (Kurt Weill) – 2019
    West Edge Opera - Conductor: David Möschler; Director: Elkhanah Pulitzer

    Qual farfalletta – Partenope (G.F. Handel) – 2018
    (Opera NEO / Benjamin Bayl, 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) - 2019

  • 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



    Worldwide Representation​

    Margaret Levine
    +44 208 771 5271

    Foresters Hall
    25-27 Westow Street
    London SE19 3RY

    +44 20 8771 5271


    Artist Page

    Maya Kherani Soprano

    Message Maya Directly

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