Thomas de Hartman’s opera “Esther” about the salvation of the Jewish people is presented in its first recording under the direction of Kirill Karabits.

from Roland H. Dippel,

April 24, 2026

The Ukrainian composer Thomas de Hartmann is among the most dazzling artists of the first half of the 20th century. His opera “Esther,” about the rescue of the Jewish people from arbitrary extermination plans, was composed in 1946 after the catastrophe of the Holocaust. In the shadow of contemporary wars, his compatriot Kirill Karabits contributed the first complete recording of the work to the “de Hartmann Project.” The score oscillates between the alluring splendor of the fin de siècle, expressive modernism, and an anachronistic affinity with 19th-century grand opera: choruses, ballets, prayers, arias, and ensembles are strung together with epic breadth and exotic appeal. The orchestration, based on the French libretto of Jean Racine’s tragedy, is characterized by stark contrasts. Opulence, folkloric interludes, and Hebrew intonations create a seductive yet darkly oppressive agglomeration of sounds. Thus, “Esther,” with its high degree of creative independence, is close to George Enescu’s “Oedipe” and Karol Szymanowski’s “King Roger.” Corinne Winters, in the title role of the two-hour opera, outshines the otherwise excellent ensemble, who dedicate themselves to their roles with enthusiasm.

de Hartmann: Esther

Corinne Winters (Esther), Yuriy Yurchuk (Assuérus), Andrew Foster-Williams (Mardochée), Bernard Richter (Aman), Olga Bezsmertna (Élise), Edwin Crossley-Mercer (Hydaspe & Asaph), Paul Appleby (Chantre), The Grange Festival Chorus, Bournemouth Symphony Orchestra, Kirill Karabits (conductor) 
Pentatone

• Kirill KarabitsKirill Karabits not only cuts a fine figure on the conductor’s podium – he also boasts great success in musicology. Born in Kyiv in 1976, Karabits began playing the piano and flugelhorn as a child, and at the age of just thirteen, he finally…