“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.”

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

“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…”

“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."

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

“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”.”

“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.”

“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.”

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

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

“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."

“Maya Lahyani was a tremendously exciting Mother Marie, with a rich, penetrating sound and palpable dramatic focus.”