Title : Esther
Author: Thomas de Hartmann
Performers: Corinne Winters, Yuriy Yurchuk, Andrew Foster-Williams, Bernard Richter, Olga Bezsmertna, Edwin Crossley-Mercer, Paul Appleby
Bournemouth Symphony Orchestra
The Grange Festival Chorus
Conductor: Kirill Karabits
Record label: Pentatone

This recording recovers Esther , op. 76, an opera by Thomas de Hartmann based on the homonymous work by Jean Racine. This is the first worldwide recording of this score.
The recovery of Esther on record constitutes a musicological event of the highest order. This 1946 opera, based on the tragedy by Jean Racine, now emerges from oblivion thanks to a production of remarkable artistic ambition promoted by the Pentatone label.
The score reveals a very personal voice that is situated between late post-romanticism, a restrained expressionism and a refined theatrical sensibility.
Kirill Karabits’s direction stands out for his ability to give unity and coherence to a dense and nuanced score. The conductor offers a flexible and inspired reading, with great attention to orchestral detail and the dramatic development of the work.
The Bournemouth Symphony Orchestra responds with a rich and transparent sound, especially noticeable in the more lyrical passages, in which the instrumental textures evoke both the French tradition and certain echoes of twentieth-century Russian opera.
The vocal cast is, on the whole, excellent. Corinne Winters constructs an intense and vulnerable Esther, with a noble singing line and a remarkable expressive capacity. Her interpretation stands out for the subtlety and psychological depth she gives to the character.
Alongside her, Yuriy Yurchuk offers a solid and elegant vocal presence, while Andrew Foster-Williams gives his role an imposing stage authority.
Also deserving special mention are Olga Bezsmertna, with a luminous timbre and refined phrasing, and Bernard Richter, always musical and expressive. The supporting roles, played by Edwin Crossley-Mercer and Paul Appleby, maintain a very high standard and contribute decisively to the dramatic solidity of the ensemble.
The Grange Festival Choir plays a central role in this opera and shines especially in episodes of great tragic intensity as well as in moments of spiritual recollection. The very careful sound recording allows us to clearly appreciate the timbral richness of a score that combines harmonic sophistication and theatrical impulse.
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 a musical writing that, without renouncing tradition, finds its own captivating voice. An essential discovery for lovers of twentieth-century opera.