Acclaim
Varvara, Katya Kabanova | Seattle Opera

"Maya Lahyani played the role of Varvara with a light-hearted and free-spirited nature that provided some relief from the heaviness of Katya's situation. It also meshed wonderfully with Joshua Kohl's Kudrjas. The duets that featured the two lovers (Varvara and Kudrjas) were exceptionally well sung.

James Bash, Northwest Reverb
Varvara, Katya Kabanova | Seattle Opera

"Maya Lahyani made an appealingly free-spirited Varbara."

Thomas May, The Seattle Times
Flora, La Traviata | Seattle Opera

“Maya Lahyani’s plummy mezzo made an impact as a Mean Girls-esque Flora and seemed to connect particularly movingly with [her] Violetta.”

Bachtrack
PORTopera delivers a landmark “CARMEN”

"If there were ever a mezzo-soprano perfectly suited to sing Carmen, it is Israeli-born Maya Lahyani, who combines a voice to die for with acting ability, beauty and stage presence. She is one of the few Carmens I have seen who makes Don Jose’s and Escamillo’s infatuation entirely believable."

Christopher Hyde, Maine Classical Beat
Carmen at PORTopera

"Maya Lahyani, the mezzo-soprano who sang the title role, brings both vocal suppleness and an alluring stage presence to the production, in healthy masure. Her two first-act showpieces, the “Habanera” and “Sequidilla,” were magnificently sultry, and her account of the dark, second act card aria, “En vain pour éviter,” touched on Carmen’s tragic side without overstating it." 

Allan Kozinn, The Portland Press Herald
Carmen | PORTopera

"In the title role, Maya Lahyani made a sensuous Carmen, her rich mezzo seductively persuasive in the Habanera and Seguidilla, and quite chilling in Act III’s “en vain pour éviter…” Her portrayal was powerful and gripping, particularly as she conveyed both Carmen’s bravado and her growing sense of doom."

Cornelia Iredell, Opera News
Opera Las Vegas: A Blazing Carmen in the Desert

"Maya Lahyani is a born Carmen. The demands of the role lie smoothly on her voice and she has strong resonance all across its range. Most of all, she created a charismatic figure that held the attention of every member of the audience. For a young singer who had only performed the title role of Carmen in two previous productions, her grasp of its intricacies was amazing."

Maria Nockin, Opera Today
Dryad, Ariadne auf Naxos | Seattle Opera

"The comely nymphs were distinct in sound - Maya Lahyani's Dryad deep and extraordinarily rich." 

Mark Mandel, Opera News
Palestinian Woman, The Death of Klinghoffer | Metropolitan Opera

"Omar, the fourth Palestinian, was apparently written as a trouser role for a mezzo-soprano; in this case, dancer Jesse Kovarsky threw his body into contortions of despair (choreography by Arthur Pita), as Maya Lahyani, here identified as Palestine Woman, sang the part with a dark, well-rounded tone."

Susan Elliott, Classical Voice North America
Carmen | Wolf Trap Opera

"Maya Lahyani brought an attractive, sultry tone and deftly sculpted phrasing to the title role... this was a vocally impressive Carmen, whether in seductive mode (Lahyani simmered nicely in "Je vais danser en votre honneur," clinking ale tankards and anything else she could find) or in furious outbursts of self-assertion. The mezzo revealed a good deal of assurance as an actress."

Tim Smith, Opera News Online
Third Sprite, Rusalka | Metropolitan Opera

"Particular praise is due to the trio of Dísella Làrusdóttir, Renée Tatum and Maya Lahyani as Rusalka’s sisters. They blended beautifully and sounded distinctly individual in solos, a tricky balance to strike."

James Jorden, New York Observer
Marchesa Melibea, Il Viaggio a Reims | Wolf Trap Opera

“Maya Lahyani’s velvety mezzo hit the mark as Marchesa Melibea”.

Tim Smith, Opera News
Mezzo Soloist, 'Vocal Colors' | summer concert at the Phillips Collection

“Soprano Andrea Carroll and mezzo-soprano Maya Lahyani (both of whom starred in Wolf Trap’s production of Rossini’s “The Journey to Reims” last month) got things off to a strong start with the “Barcarolle” duo from Offenbach’s “Tales of Hoffmann,” showing off rich and supple voices as well as a subtle sense of drama.

Those qualities marked both women’s singing all evening.
Lahyani’s gorgeous mezzo voice was delicately balanced between anguish and nostalgia in Rachmaninoff’s “Do Not Sing for Me,” and her account of “Forgiveness” by the Israeli composer Oded Lerer — a beautiful piece in moody colors — was as lyrical as it was sensuous, delivered with quiet and convincing passion.”

Stephen Brookes, The Washington Post
Marchesa Melibea, Il Viaggio a Reims | Wolf Trap Opera

“Maya Lahyani showed a promising dark contralto-colored mezzo as the Polish Marquise Melibea.”

Anne Midgette, The Washington Post
Page, Salome | Canadian Opera Company

“Maya Lahyani’s Page gamely did what was asked of her, and she sang with rich, ripe tone to boot.”

James Sohre, Opera Today
Page, Salome | Canadian Opera Company

"Israeli mezzo-soprano Maya Lahyani displayed an unusually rich voice as the Page."

Christopher Hoile, Opera News
Soloist in 'Constellation' | Alonzo King's LINES Ballet

“Performing live, mezzo-soprano Maya Lahyani and Hadley McCarroll at the piano, glow iridescently in their rendering of pieces of Handel, Vivaldi and Richard Strauss, imbuing them with exquisite feeling.”

Aimee Tsao, DanceTab
Third Lady, The Magic Flute | The Dallas Opera

“Most impressive is the quality of the ensemble singing. I’ve rarely heard the three ladies — here the excellent Caitlin Lynch, Lauren McNeese and Maya Lahyani — sing with such precision of intonation and expression”.

Scott Cantrell, The Dallas Morning News
The Future is Now - Adler Gala Concert | San Francisco Opera Orchestra

“In the future-stardom sweepstakes came soprano Nadine Sierra and mezzo-soprano Maya Lahyani, who joined forces for a sublime account of “Mir ist die ehre” from Act 2 of Richard Strauss’ “Der Rosenkavalier.” Sierra offered sumptuous, pointed singing as Sophie, and was matched by Lahyani’s dark-toned urgency as Octavian; as the two characters moved from formal politeness to increasingly dumbstruck love, the scene kept gaining depth and vigor.
Each of them proved equally terrific on her own… Lahyani’s evocation of the grief-stricken Dido from Berlioz’s “Les Troyens” was a powerful blend of earthy chest tones and emotional urgency."

Joshua Kosman, The San Francisco Chronicle
The Future is Now - Adler Gala Concert | San Francisco Opera Orchestra

“It was Opera Heaven-on-Earth when, almost in succession, mezzo-soprano Maya Lahyani and soprano Sara Gartland (both departing second-year Fellows), tenor Brian Jagde (soon to begin his term as a third-year Fellow), and soprano Leah Crocetto (departing third-year Fellow) pulled out all the stops.” “In Didon’s “Je vais mourir” from Berlioz’ Les Troyens, and as Octavian in the “Mir ist die ehre” duet from Richard Strauss’ Der Rosenkavalier with soprano Nadine Sierra (first-year Fellow), Lahyani conveyed such out-of-the-box sentiment as to bring to mind the great Brigitte Fassbaender. Didon’s words “eternelle nuit” were voiced memorably, the entire scene presented with such fine gradations of volume and tone that it served as an example of opera at its finest… Lahyani achieved greatness.”

Jason Victor Serinus, San Francisco Classical Voice
Dinah, Troublein Tahiti | Opera Santa Barbara

"Lahyani's Dinah was ideal, combining radiant, steel-reinforced tone with wistful vulnerability."

Georgia Rowe, Opera News
The Future is Now - Adler Gala Concert | San Francisco Opera Orchestra

“The bar was set high right from the first vocal selection… Mezzo Soprano Maya Lahyani, a first-year Adler of enormous promise, brought a big, voluptuous sound, sumptuous phrasing and flawless high notes to a powerhouse rendition of “Mon coeur s’ouvre À ta voix” from Saint-Saëns’ “Samson et Dalila.” A foolish pessimist might have wondered whether it would all be downhill after that virtuoso display…”

Joshua Kosman, The San Francisco Chronicle
The Future is Now - Adler Gala Concert | San Francisco Opera Orchestra

“Mezzo-soprano Maya Lahyani seared the audience that filled the acoustically challenged Herbst Theatre. Perfectly supported by the San Francisco Opera Orchestra, conducted by Morash, the first year Adler fellow’s sizzlingly sensual rendition of Dalila’s “Mon Coeur s’ouvre à ta voix” made clear that Samson’s hair was about to go. Curling body and lips, gyrating like a belly dancer in heat, Lahyani and her darkly dangerous instrument were ideal for both the enemy of the Hebrews and, in the second set opener, a Carmen who snarled at death. This is an instrument that could cut a man to pieces. Should it develop even more richness and plushness in the years ahead, Lahyani could very well have audiences worldwide at her feet."

Jason Victor Serinus, San Francisco Classical Voice
Wowkle, La Fanciulla del West | San Francisco Opera

“The debuting, Merola/Adler singers in the cast are splendid, especially Maya Lahyani’s wowkle…”

Janos Gereben, San Francisco Examiner
Merola Grand Finale Gala | San Francisco Opera Orchestra

“The exquisite all-female trio from Act 2 of Berlioz’s ‘Béatrice et Bénédict’ that concluded the first half of Saturday’s Grand Finale of the Merola Opera Program was both a high point and an emblem…. the sumptuous vocal blend of soprano Susannah Biller, mezzo-soprano Maya Lahyani and contralto Suzanne Hendrix seemed to sum up the splendors of an evening when the female side of the roster reigned supreme.”

“Lahyani, clearly one of the future stars of this crop of singers, was a rich-toned and theatrically vigorous Carmen in “Près des remparts de Séville”.”

Joshua Kosman, The San Francisco Chronicle
Beppe, L'amico Fritz | Merola Program

“Yet perhaps most impressive was mezzo-soprano Maya Lahyani as the Gypsy boy Beppe (in this staging a one-armed war orphan). Beppe is potentially a walking piece of stage scenery, but Lahyani’s resplendent vocalism and vigorous stage presence brought him to life.”

Joshua Kosman, The San Francisco Chronicle
Beppe, L'amico Fritz | Merola Program

“Mezzo soprano Maya Lahyani gave a thoroughly appealing performance in the trouser role of the gypsy boy Beppe, portrayed here as a one-armed soldier returned from the wars.”

Caroline Crawford, Bay City News
Beppe, L'amico Fritz | Merola Program

“…Maya Lahyani’s Beppe a memorable vocal and stage performance. The Israeli
mezzo is a powerhouse, with as much existing excellence as future promise.”

Janos Gereben, San Francisco Classical Voice
Beppe, L'amico Fritz | Merola Program

“Maya Lahyani brought gleaming vocalism and dramatic insight to the role of the gypsy musician, Beppe.”

Georgia Rowe, San Francisco Classical Voice
Outdoor Concert at the Verdi Square, New York City

“The Israeli mezzo-soprano Maya Lahyani contributed an account of the “Séguedille” from Bizet’s “Carmen” that was alluringly voiced and not without sexual innuendo."

George Loomis, The New York Sun
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