⭐⭐⭐⭐⭐ Maya Kherani is stunning in the role of piper, haunting and charismatic as she charms first the rats and then the children.
⭐⭐⭐⭐ Maya Kherani is a mesmerising Pied Piper – androgynous in a highwayman’s coat, ribbons in her hair and seven-league boots, with a song so high it vanishes into the ether...
Soprano Maya Kherani came out last, stunning in her red ensemble, her expressive, bell-like vocals sparkling brighter than her jewels. She demanded attention from the start, her Arioso showcasing an impressive ability to glide in and out of diminuendos. Her stable vibrato complemented the chorus, keeping the prolonged notes melodical as she graced the crowd with her dazzling smile.
Indian-American soprano Maya Kherani delivered a most dramatic rendering of the angel sequence of recitatives announcing the birth of the baby Jesus in Part One while displaying a sound that was full, rich and deeply resonant in the beautifully lyric arias that follow throughout the oratorio. Kherani tended to offer more elaborately ornamented passages than her counterparts, but they were deliciously rendered with a natural grace and ease, even to the heavenly high B-flat in her improvised cadence for the final aria of the night from Romans 8, “If God be for us,” often cut from Messiah performances.
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.