Aida, Aida (Dayton Opera)

“As Aida, Indira Mahajan, made every moment magical through electric characterizations. Magical moments-Mahajan’s “O patria mia” was a most riveting rendition of this reverie for her beautiful country. The heartbreaking line, “mai piὺ,” resonated into every ear and heart.” Burt Saidel The Oakwood Register

Cio-Cio-San, Madame Butterfly (Arizona Opera)

“Indira Mahajan utterly steals the show playing the innocent 15-year-old. Mahajan’s voice is something like a beautiful epiphany, pure wrenching emotion matched with clarion precision. Her acting performance, meanwhile, is a thing of tender efficiency, never once slipping into the melodrama to which an overactive production of “Butterfly could easily succumb.” Chris Page Tribune

Cio-Cio-San, Madame Butterfly (Dayton Opera)

“Mahajan became totally unforgettable as her first Butterfly. I can only predict this will be the role that she will own in the great opera houses of the world. Her sweeping vocal power in an unbroken line is inspiring. Mahajan has that under her complete control. What she adds is an incredible ability to enter that line from the softness of her inner feelings with effortless grace. Burt Saidel The Oakwood Register

“But Mahajan portrayed Butterfly’s dying moments with such pathos it brought her Pinkerton to lie beside her in commiserating grief giving the audience their desired lump in the throat.” Seen and Heard International Opera Review

Bess, Porgy and Bess, (Dallas Opera)

Indira Mahajan is a sexy Bess, but turns sleazy, needy, and strong, with a soprano of a thousand colors and intensities. Scott Cantrell The Dallas Morning News

Bess, Porgy and Bess, (Washington National Opera)

Indira Mahajan caught the proud, sultry, Carmen-like side of Bess as easily as the vulnerable, frightened side, and her soprano carried considerable expressive weight. Tim Smith Opera News

The character of Bess –a walking compendium of social ailments-was sung with brilliance and ardor by Indira Mahajan. Tim Page The Washington Post

As Bess, Indira Mahajan was outstanding. Her entrance was striking. She came on stage in a hot-orange/red satin clinging dress, appealing as a very sexy broad. Besides being a wonderful actress, she possesses a magnificent soprano voice, that is large, well placed and completely under control. With singing like that, her career should be brilliant. Nancy Lang Der Neue Merker

Thanks to her virtuosity in the soaring, vibrant, distinctively striking timbre, Indira Mahajan was absolutely radiant as a graceful, seductive but also vulnerable Bess. Marc Weinachter Tageblatt

A magnificent performance by Indira Mahajan, a slight Bess and perfect in her role. Jorge Còrdova Moya La Opinión de Granada

Soprano, Indira Mahajan had all the technique needed for the extraordinarily high tessitura of Bess’s role, and much more besides. Her first-act entrance was as bold and brazen, as irredeemably lost, as one could imagine. Her change of heart to Porgy’s woman was touching and credible, but the groundwork she laid at the start made her return to the fast track all the more tragic. Her main duets with Porgy “Bess you is my woman now” and “I loves you Porgy” were as perfect as anyone might ever have a chance to hear. Ronald G. Precup *Intermission

Soprano Indira Mahajan portrayed an almost shockingly unsympathetic woman, leading a complex authenticity to her character’s weakness for drugs and sex. Her stratospheric high notes never missed their mark. T.L. Ponick The Washington Times

Indira Mahajan as Bess, a woman lost in the struggle to find herself, is a lighter fine-toned soprano and a highly compelling stage presence. This is a physically demanding performance and Mahajan handles it with amazing strength and grace; the scene in which she struggles bodily and emotionally with her nemesis Crown is beautifully portrayed. Kate Wingfield Metro Weekly

The role of Bess was portrayed by Indira Mahajan with a bitter-sweet and heart-wrenching balance, as we watched the character swing like a pendulum, among three men, two of whom have no interest in her soul. Edith Billups The Washington Informer

Lucia, Lucia di Lammermoor (Chautauqua Opera Company)

“Indira Mahajan… created Lucia in a stunning performance that commands belief in a preposterous melodrama and summons appreciation for a gloriously ranging voice that chillingly renders the tragic, mad heroine.”

“In the starring role, soprano Indira Mahajan delivers even more than expected. The benchmark is Joan Sutherland’s now historic professional debut performance as Lucia. Mahajan makes Lucia her own.”

“As gentle and touching as a caress, as chilling as a specter, Mahajan occupies a dynamic range and capitalizes it with a grand performance as the tragic Lucia…”

“Writhing on the floor, singing of sacred passion, imitating the call of a bird, it is a searing performance.” Anthony Bannon The Chautauqua Daily

Lucia, Lucia di Lammermoor (National Lyric Opera)

“The role of Lucia was forcefully and convincingly sung by Indira Mahajan, who aptly demonstrated a rich, expressive and, in her upper reaches, thrilling voice. Among the many highlights of her superb performances, she brought down the house in the third act with a stunning duet with flutist Kathy Boyd.” David Lasky Telegram & Gazette

Lucia, Lucia di Lammermoor (National Lyric Opera)

“Indira Mahajan, was no ordinary singer at all, but one of those extraordinary performers who, as they say, have ‘got it all together…’ Most impressive, Mahajan has that rare ability to make each vocal flourish, each musical embellishment seem an extension, even a revelation, of Lucia’s poetic, tormented character. Moreover, the lady sings from her heart.” Anna Crebo Cape Cod Times

Musetta, La bohème (Dallas Opera)

“Soprano Indira Mahajan sparkled as Musetta, bubbling over with energy.”

Olin Chism Dallas News

“Soprano Indira Mahajan, who appeared in Fort Worth as Gilda in Verdi’s Rigoletto in September, glowed as Musetta.” Wayne Lee Gaye
 Star Telegram

Musetta, La bohème (Dallas Opera) – continued

“Jonathan Pell, Director of Artistic Administration for the Dallas Opera confirms, ‘Indira’s extraordinary stage presence is as irresistible as her extraordinary vocal abilities. When she’s onstage, it’s nearly impossible to take one’s eyes (or ears) off her… It’s what we call star quality,’ Mr. Pell added”. Connections (online newsletter) Greater Dallas Asian American Chamber of Commerce

Mimi, La bohème (Royal Albert Hall) “Substantial voice…” Hugh Canning The London Sunday Times

Mimi, La bohème (Dayton Opera)

“Then there were the voices. Leading the cast was soprano Indira Mahajan returning to Dayton Opera after her triumph as Nedda in I Pagliacci in 2002. I described her then as a new Teresa Stratas. Hearing her marvelous portrayal as Mimi, I underscore that opinion.” Burt Saidel Oakwood Register

Musetta, La bohème (Orlando Opera)

“Soprano Indira Mahajan made Musetta, Marcello’s sometime-flame, a flamboyant and coquettish figure-in voice and bearing-but she also captured Musetta’s good heartedness at the end.” Steven Brown Orlando Sentinel

Musetta, La bohème (Opera Omaha)

Mahajan is stunning as the feisty Musetta, especially with her “look at me” antics in the second act. Ashley Hassebroek Omaha World Herald

Musetta, La bohème (New York City Opera National Company)

“Mahajan, with the most secure voice and delivery in the show, sings beautifully and plays the siren in bold, over-the-top style.” Bill Fark The North County Times

“Musetta, played and sung very well by Indira Mahajan, was more than a shallow flirt. She became a buoyant, affectionate spirit.” Los Angeles Daily News

“Indira Mahajan’s Musetta is amusingly maniacal, and her waltz aria was well sung.” Julie Jensen Quad City Times

“Indira Mahajan (Musetta) is a consummate actress with a vibrant, agile voice that soared over the heavy vocal and orchestra sound in the Café Mumus scene. Hers was a perfect realization of the brittle, faithless yet warm and loving Musetta.” Martha Fawbush Asheville Citizen Times

“Indira Mahajan proved a Musetta of charismatic skill.” Daniel Cariaga The Los Angeles Times

Musetta, La bohème (New York City Opera National Company) – continued

“Support came from Indira Mahajan, who played Musetta like Carmen – pouting, strutting, fiery and disdainful – but sang the famed waltz with gusto…

Peter Lefevre The Orange County Register

Gilda, Rigoletto (Fort Worth Opera)

“Vocally, soprano Indira Mahajan as the ill-fated but innocent Gilda came closest to perfection, transforming the innocent convent girl into a woman in love via convincing acting and a subtle change in vocal color in the aria Caro nome.” Wayne Lee Gay, Fort Worth Star-Telegram

“As Gilda she sang with agility and clear, sweet voice and projected well the character’s naiveté.” Olin Chism Dallas News

Violetta, La Traviata (Greater Bridgeport Symphony)

“Portraying Violetta, soprano Indira Mahajan proved a powerhouse. From her initial light coloratura, Mahajan added layer upon layer to her beautiful soprano to get across Violetta’s deepening emotions.” Joseph Pronechen Connecticut Post

Violetta, La Traviata (Ash Lawn Opera Festival)

“Indira Mahajan was superb as the lady of the night whose depth of character so defines the part. Her warm, well-produced voice carefully painted the wide range of feelings Verdi’s heroine must portray. As she plunged from elation to depression, Mahajan carried the audience with her as much by her body language as by her vocal characterization. The intensity of her character never let down.” John T. Roberts The Daily Progress

“We are lucky here at Ash Lawn to have a perfectly cast Violetta’”, Pirtle said of Indira Mahajan, who sings the role. ‘She sings and acts with strength’”.(*Director Sharon Pirtle) Jane Dunlap Norris *Anniversary

“Indira Mahajan, the Violetta of this summer’s Ash Lawn Opera ‘Traviata’ sounded like a perfect fit for the role Sunday night…” Clarke Bustard Richmond Times

Nedda, I Pagliacci (Dayton Opera)

“As Nedda…Indira Mahajan used her soaring voice to give life to her famous ‘balletta’ aria. Soprano Mahajan is a new Teresa Stratas.” Burt Saidel The Oakwood Register

“Indira Mahajan held her own as the unfaithful wife, showing remarkable artistic range in her first Dayton appearance.” Carol Simmons Dayton Daily News

Donna Elvira, Don Giovanni (Virginia Opera)

“Mahajan was a lovely Elvira with a distinctive, quick vibrato, well-projected voice and appealing stage presence. She sang beautifully all evening and added a wonderful element of humanity to the performance.” Paul Sayegh The Virginia Pilot

“Mahajan is also equal to the composer’s demands, with a spectacular soprano voice.” Lucia Anderson The Free Lance-Star

“Donna Elvira is the opera’s trickiest challenge for characterization: abandoned lover, helpless victim and avenging fury, constantly shifting between tragedy and comedy; Indira Mahajan balanced these nuances with impressive dexterity.” Joseph McLellan The Washington Post

“Then there was Indira Mahajan, playing the volatile and twice-spurred Donna Elvira, whose second act aria “Mi Tradi” burned with emotion without sacrificing a beautiful sound.” James Wilson Entertainment

Mordeen, Burning Bright (Opera Festival of New Jersey)

“As Mordeen, his vulnerable wife, soprano Indira Mahajan was outstanding. Her easily produced voice had a most appealing quality.” Donald P. Delany The Times

Susanna, Le nozze di Figaro (Virginia Opera)

“Indira Mahajan’s Susanna was lively, funny and resilient, and her lyric soprano had a characterful brightness that sustained interest throughout the long role.” Paul Sayegh The Virginia Pilot

Susanna, Le nozze di Figaro (Virginia Opera)

“Indira Mahajan’s winning Susanna were endearing as the betrothed servants.” Pierre Ruhe The Washington Post

“She stole the limelight on several occasions with her infectious smile and light, bright soprano sound that carried nicely. Mahajan…gave this production a youthful appeal.” David Nicholson Daily Press

“Indira Mahajan, as Susanna, possesses a beautiful soprano that is clear and controlled and capable of the role’s total requirements.” John Shulson Hear/Say Discussion Forum

Title Role, Esther (Angel Orensanz Foundation)

“…when soprano Indira Mahajan got her chance, with Handel’s “Tears assist me,” her operatic delivery presented a more mature, but equally concentrated moment of emotion within the same stylized framework of declamation.”

Heidi Waleson The Wall Street Journal

Title Role, Esther (Angel Orensanz Foundation)- continued

“Scarcely less impressive was Indira Mahajan’s strongly centered, richly textured soprano, eloquently put to use as the singing incarnation of Esther.” Peter G. Davis New York Magazine

Iris, Semele (Berkshire Opera Company)

“Iris (Juno’s messenger), sung by Indira Mahajan, added much pizzazz to her relatively small part and certainly made the most of it.” Peter Marshall Compass

“Indira Mahajan was both delightful and expressive with a fine, solid voice.” Ron Lee WBRK Radio

“A wonderfully humorous touch is created by soprano Indira Mahajan as Iris, goddess of the rainbow.” Rosemary Jette North Adams Transcript

Title Role, Treemonisha (Stern Grove Festival)

“On Sunday, the title role was sung with plenty of flair and assurance by soprano Indira Mahajan, who handled both the high notes and the rhythmic flow of the role splendidly.”
Joshua Kosman San Francisco Chronicle

Title Role, Treemonisha (Carlsen Center)

“Treemonisha is beautifully sung by Indira Mahajan, whose lustrous voice captures all of the lilt of Joplin’s score.” Robert Eisele Kansas City Star

Norina, I Pazzi per progetto (Mannes College of Music) “Indira Mahajan was especially appealing in the lead role of Norina with an incisive soprano that made sport of the coloratura demands…(she) showed temperament and fire in her acting, and also proved an engaging comedian, capable of subtlety”. The New York Times

Sandrina, La Finta Giardiniera (Mannes College of Music) “also handling Mozart’s vehement demands confidently was soprano Indira Mahajan.” New York Post


August 4, 1964 (Dallas Symphony)
“Indira Mahajan and Kristine Jepson as the two mothers, are singers one would like to hear again and again…” Opera News

Comfort and Joy: Songs for a Midwinter’s Eve (New York City Gay Men’s Chorus) “Indira Mahajan…graced the evening with her rich and mellifluous voice” Jay Jimenz and Richard Tressan Next Magazine

Soloist, Mendelssohn: Songs (Battery Dance Company) “Indira Mahajan…has a rich, transporting voice that captured the raptures of Mendelssohn’s ‘Spring Song’ and truly swept us all up ‘On Wings of Song’. It was a great musical treat.” Susanna Sloat