• 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.

    Joanne Sydney Lessner

    OPERA NEWS, December 2020

  • 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

    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


    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


  • 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.

    Lois Silverstein

    OPERAWIRE, August 16 2019


    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