Soprano Maya Kherani brings intelligence, vulnerability, and a rich, soaring soprano to the role of Bea, and her unforced acting and authenticity make the viewer feel like a fly on the wall. The range of raw emotions Kherani exposes while tossing back champagne as she raids Madeline’s closet reveals the complexity lurking under the veneer of dutiful daughter.
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.
Kherani’s Rosina is a witty revelation, whose comic reactions are nearly as entertaining as her superlative vocal performance.
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.
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.
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…
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.