Maya Lahyani
Mezzo-soprano

“Mezzo-soprano Maya Lahyani seared the audience [with a] sizzlingly sensual rendition of Dalila’s ‘Mon Coeur s’ouvre à ta voix’… This is an instrument that could cut a man to pieces.” (San Francisco Classical Voice)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Biography

Former Adler Fellow and Metropolitan Opera National Council Audition finalist Maya Lahyani made her Metropolitan Opera debut as Kate Pinkerton (Madama Butterfly) under Philippe Auguin going on to appear in a number of subsequent productions there including Elektra, Rigoletto, The Death of Klinghoffer, La traviata, Manon and Rusalka. As a young artist at both the San Francisco and Seattle Operas, Maya appeared in a number of productions including Così fan tutte, Ariadne auf Naxos, La fanciulla del West, Die Walküre and Franco Alfano’s Cyrano de Bergerac. Further roles in her repertoire include Carmen, the Page (Salome), Third Lady (Die Zauberflöte), Mère Marie (Les dialogues des Carmélites), Charlotte (Werther) and Maya Lahyani recently appeared at the Hollywood Bowl as Countess di Ceprano (Rigoletto) with the Los Angeles Philharmonic, conducted by Gustavo Dudamel.

Former Adler Fellow and Metropolitan Opera National Council Audition finalist Maya Lahyani made her Metropolitan Opera debut as Kate Pinkerton (Madama Butterfly) under Philippe Auguin going on to appear in a number of subsequent productions there including Elektra, Rigoletto, The Death of Klinghoffer, La traviata, Manon and Rusalka. As a young artist at both the San Francisco and Seattle Operas, Maya appeared in a number of productions including Così fan tutte, Ariadne auf Naxos, La fanciulla del West, Die Walküre and Franco Alfano’s Cyrano de Bergerac. Further roles in her repertoire include Carmen, the Page (Salome), Third Lady (Die Zauberflöte), Mère Marie (Les dialogues des Carmélites), Charlotte (Werther) and Maya Lahyani recently appeared at the Hollywood Bowl as Countess di Ceprano (Rigoletto) with the Los Angeles Philharmonic, conducted by Gustavo Dudamel.

With a concert repertoire already including Mozart’s Requiem, Mendelssohn’s A Midsummer Night’s Dream, Ravel’s Shéhérezade and Brahms’ Alto Rhapsody, Lahyani joins Charlotte Symphony Orchestra this season for Mahler’s Symphony No.2. In addition to a return to The Metropolitan Opera as Maddalena under Pablo Heras-Casado and Flora under Nicola Luisotti this season, she makes a debut as Varvara (Katya Kabánova) at Seattle Opera.

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Ian Stones +44 (0)20 3725 9104
Georgina Wheatley +44 (0)20 3725 9185

Reviews

“Maya Lahyani made an appealingly free-spirited Varvara.” (Seattle Times, February 2017)

“Maya Lahyani brought some rare, welcome moments of levity to the role of Varvara.” (Seattle Post-Intelligencer, February 2017)

“The Israeli mezzo Maya Lahyani brings a pleasant timbre and vibrato to Varvara.” (Operaworld, February 2017)

“Maya Lahyani made an appealingly free-spirited Varvara.” (Seattle Times, February 2017)

“Maya Lahyani brought some rare, welcome moments of levity to the role of Varvara.” (Seattle Post-Intelligencer, February 2017)

“The Israeli mezzo Maya Lahyani brings a pleasant timbre and vibrato to Varvara.” (Operaworld, February 2017)

“Maya Lahyani delivered fined work as the rebellious Varvara.” (Queen Anne & Magnolia News, February 2017)

“Maya Lahyani’s plummy mezzo made an impact as a Mean Girls-esque Flora and seemed to connect particularly movingly with [her] Violetta.” (Bachtrack, January 2017)

“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.” (Opera Today, June 2016)

“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.” (Maine Classical Beat,  July 2016)

“Maya Lahyani, the mezzo-soprano who sang the title role, brings both vocal suppleness and an alluring stage presence to the production, in healthy measure. Her two first-act showpieces, the “Habañera” and “Seguidilla,” 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.” (The Portland Press Herald, July 2016)

“Maya Lahyani’s Dryad [was] deep and extraordinarily rich.” (Mark Mandel, Opera News, May 2015)

“A fine performance from mezzo Maya Lahyani as Flora.” (George Grella, New York Classical Review, December 2014)

“Maya Lahyani was visceral as the Palestinian woman.” (David Salazar, Latin Post, October 2014)

“Maya Lahyani [sings a] mesmerizing aria as the Palestinian Woman.” (George Grella, New York Classical Review, October 2014)

“Maya Lahyani sang the part with a dark, well-rounded tone.” (Susan Elliott, Classical Voice North America, October 2014)

“The youngest hijacker’s inner struggle was sung beautifully by Maya Lahyani.” (Rebecca Lentjes, Bachtrack, October 2014)

“Her rich, smoky, aubergine-colored voice is nearly perfect for the role.” (Tom Huizenga, Washington Post, August 2014)

“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, August 2014)

“Maya Lahyani had enough magnetism to pull off the title role, with a dark, viscous voice.” (Charles T. Downey, Ionarts, July 2014)

“Maya Lahyani’s velvety mezzo hit the mark as Marchesa Melibea.” (Tim Smith, Opera News, June 2013)

“Maya Lahyani showed a promising dark contralto-colored mezzo as the Polish Marquise Melibea.” (Anne Midgette, Washington Post, June 2013)

“Maya Lahyani’s Page gamely did what was asked of her, and she sang with rich, ripe tone to boot.” (James Sohre, Opera Today, April 2013)

“Israeli mezzo-soprano Maya Lahyani displayed an unusually rich voice as the Page.” (Christopher Holle, Opera News, April 2013)

“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, San Francisco Chronicle, December 2011)

“In Didon’s “Je vais mourir” from Berlioz’s Les Troyens, and as Octavian in the “Mir ist die ehre duet from Richard Strauss’ Der Rosenkiavalier, 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 find gradations of volume and tone that it served as an example of opera at its fines…Lahyani achieved greatness.” (Jason Victor Serinus, San Francisco Classical Voice, December 2011)

“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”.” (Joshua Kosman, San Francisco Chronicle, December 2010)

“Mezzo-soprano Maya Lahyani seared the audience that filled the acoustically challenged Herbst Theatre…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, December 2010)

“Adler Fellow Maya Lahyani sang handsomely in two small roles.” (Jason Victor Serinus, San Francisco Classical Voice, October 2010)

“As Wowkle, Minnie’s Indian housekeeper, rich-voiced mezzo-soprano Maya Lahyani made a strong impression.” (Harvey Steiman, Seen & Heard International, June 2010)

“The debuting Merola/Adler singers in the cast are splendid, especially Maya Lahyani’s Wowkle.” (Janos Gereben, San Francisco Examiner, June 2010) 

“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, San Francisco Chronicle, August 2009)

“Yet perhaps most impressive was mezzo-soprano Maya Lahyani as the Gypsy boy Beppe…Beppe is potentially a walking piece of stage scenery, but Lahyani’s resplendent vocalism and vigorous stage presence brought him to life.” (Joshua Kosman, San Francisco Chronicle, July 2009)

“Mezzo-soprano Maya Lahyani gave a thoroughly appealing performance in the trouser role of the gypsy boy Beppe.” (Caroline Crawford, Bay City News, July 2009)

“Maya Lahyani’s Beppe [was] 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, July 2009)

“Maya Lahyani brought gleaming vocalism and dramatic insight to the role of the gypsy musician, Beppe.” (Georgia Rowe, San Francisco Classical Voice, July 2009)

Discography

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