Delving into the world of Ainadamar
Delving into the world of Ainadamar was both surprising and familiar to me as I first prepared to sing the role of Nuria. My high school was incredibly encouraging of the arts, and I was fortunate enough to play roles in two Lorca plays, Blood Wedding and The House of Bernarda Alba. I still remember being enchanted by the subtle symbolism and the character depth in those works. In Ainadamar, as Margarita remembers Lorca’s creative genius, I too remember the awe I felt for Lorca as a 16-year-old. Nuria, as a student and protégé of Margarita, seems like a natural reflection of my own study of Lorca. Learning the role has been challenging, but extremely fulfilling; I cannot wait to hear it all meld together in the coming weeks.
As I prepared, I was surprised not only by the beauty of the libretto’s poetry, but most of all, by the stunning lyrical lines of Golijov. I think the first time I heard the Gunshot Interlude, I was literally frozen in place, reeling from the depth of feeling, profundity, and history all rolled into a fusion of gunshots, flamenco guitars and percussion. That’s when it hit me – this is going to be an incredible journey, not just for me and the rest of the cast, but for the audience, who get to discover Lorca and Golijov in one remarkable feast.
Maya S. Kherani
Lyric Coloratura Soprano
Stanford University, M.S. candidate in Mechanical Engineering
San Francisco Conservatory of Music, M.M. in Vocal Performance
Princeton University, B.S.E. in Mechanical Engineering
www.mayakherani.com