“”The performance is masterminded brilliantly by conductor Kirill Karabits… The score is replete with interesting colours and instrumental combinations, relished by the BSO, and its changing styles and moods – whether brooding, serene, noble or triumphant – all come across vividly… De Hartmann uses choruses to wonderful effect, whether evoking the fragile beauty and stirring song of the Daughters of Zion or the final triumphant outburst for the opera’s happy ending. It’s a recording well worth spending time with.” Rebecca Frank, June 12, 2026

“…The audio-only production is nothing if not a labor of love…this is a suitably gorgeous realization.” David Gutman June 2026

“Esther is a truly wonderful discovery…. Its unique tone blends the dramatic intensity of opera with its contemplative dimension, drawing inspiration from Korngold, Strauss, and Ravel… Drawing on her Ukrainian Jewish heritage, she [Corinne Winters] brought all her talent to bear in embodying the formidable role of the Persian Jewish Queen.” N.B. May 2026

“…This recording rescues an unjustly forgotten opera and vindicates Thomas de Hartmann as a composer of great personality. Esther surprises with its dramatic force and musical writing that, without renouncing tradition, finds its own captivating voice. An essential discovery for lovers of twentieth-century opera.” Carme Miró May 29 2026

“The strong cast catches the intens­ity and grandeur of the piece. Sop­rano Corinne Win­ters is ideal and utterly con­vin­cing in the weighty title role…Hart­mann’s work has an over­whelm­ing per­son­al­ity, delivered with shatter­ing energy in Pentatone’s world premiere record­ing. ★★★★★” Ashutosh Khandekar, April 23 2026

“”The Ukrainian composer Thomas de Hartmann is among the most dazzling artists of the first half of the 20th century….Corinne Winters, in the title role of the two-hour opera, outshines the otherwise excellent ensemble, who dedicate themselves to their roles with enthusiasm.” Roland H. Dippel April 24, 2026

“”…when his eclectic music takes wing it really does fly — often into strident rage, but finally into exultation when the happy ending arrives…her [Corinne Winters] zinging top notes are a joy and sharpen the music’s characteristic mix of pain and ecstasy. Her male colleagues give strong support, while Karabits and the Bournemouth Symphony Orchestra revel in the exotic colours and heightened passions.” Geoff Brown, April 27 2026

“…there’s no doubting her [Corinne Winters] dramatic commitment, or indeed that of anyone involved in this fascinating exhumation: Karabits and Co. have restored a vital missing link in twentieth-century music history, and the end product is worth two hours of anyone’s time.” Katherine Cooper, April 24, 2026

From the radio transcript: “It’s a remarkable project and a captivating recording I think framing some excellent orchestral playing and as you heard some beautiful choral laments. Corinne Winters masters a hugely challenging role and this feels like an important discovery – a wartime link between late romantic opera and 20th Century modernism.” Andrew McGregor, April 25, 2026

“This is a very fine release indeed, worthy of considerable praise. There is unlikely to be another, and I have no doubt that it does the composer proud. All involved can be very, very satisfied with their achievement.” Jim Westhead, April 15, 2026