Washington Post
“...performed with ceaseless energy and stratospheric high notes by a soprano who appears to be channeling Lucia de Lammermoor on acid...She has a wonderful speaking voice, sings like an angel and squeals like a guinea pig when the text compels her to do so.”
Anne Midgette, Review of David Del Tredici's Final Alice
CNN.Com
“Like Kathleen Battle's vocal arcs in Vangelis' 2001 "Mythodea," Plitmann's glissandi sail above the petty pulpits of earthly doctrine with an ethereal ease that argues for Plitmann's pairing with Battle or Dawn Upshaw -- or both. Indeed, let's give the spotlight to women in music, too: It's time for a Three Sopranos.”
Porter Anderson, Review of Hans Zimmer’s soundtrack to the Da Vinci Code
Los Angeles Times
“Hila Plitmann...began on a note of ecstasy and never left it.”
Mark Swed, Review of Esa-Pekka Salonen’s Wing on Wing
ReviewPlays.com and Entertainment Today
“Plitmann has a vocal instrument that is simply unreal in its beauty, a high lyrical soprano that cuts through Whitacre's electronic augmentation like a knife.”
Travis Michael Holder, Review of Eric Whitacre’s Paradise Lost: Shadows and Wings
BackstageWest
“Hila Plitmann...brilliant, eliciting strong empathy and singing gorgeously”
Les Spindle, Review of Eric Whitacre’s Paradise Lost: Shadows and Wings
Los Angeles Times
“Exstasis - played with tremendous vocal and physical grace by Hila Plitmann...”
Theatre Beat, Review of Eric Whitacre’s Paradise Lost: Shadows and Wings
Theatre Mania
“Hila Plitmann, who fights like a warrior and sings like the angel she portrays...”
Terri Roberts, Review of Eric Whitacre’s Paradise Lost: Shadows and Wings
Hollywood News Calendar
“Hila Plitman shines as Extasis.”
John Fox, Review of Eric Whitacre’s Paradise Lost: Shadows and Wings
San Francisco Chronicle
“Hila Plitmann sang the music with gorgeous, ripe tone and emotional depth”
Joshua Kosman, Review of Aaron Jay Kernis’ Two Awakenings and a Double Lullaby
New York Times
“...In Mr. Del Tredici’s piece (Haddock’s Eyes)...the soprano soloist was Hila Plitmann, who was every bit as gleeful and arch as the music seemed to want. She also paid the composer the fine compliment of singing from memory... precise singing in a brilliant top register...”
Paul Girffiths, Review of David Del Tredici’s Haddocks’ Eyes
Chicago Tribune
“...Soprano Hila Plitmann was superb, with an expressive range and communicative power.”
Michael Cameron, Review of John Corigliano’s Mr. Tambourine Man
The Westsider
“...The stratospheric vocal writing is near impossible but irresistible, and soprano Hila Plitmann’s mastery of “cluckatura” could give the Met Opera’s current reigning queen on that repertory, Sumi Jo, frightening competition.”
Bill Zakariasen, Review of David Del Tredici’s Lament on the Death of a Bullfighter
Los Angeles Times
“...achieving the right balance of charachter and vocal prowess is nervy Hila Plitmann (as Sharon)...(singing) a fiery rendition of an aria from Macbetto.”
Rob Kendt, Review of Terrence Mcnally’s Master Class
Los Angeles Easy Reader
“Hila Plitmann, as student soprano Sharon generates considerable sparks...holding her own in the verbal battle. Plitmann soars absolutely skyward with breathtaking vocals at point blank range.”
Joseph Sirota, Review of Terrence Mncally’s Master Class
Chicago Sun Times
“...superb soprano, Hila Plitmann...leaping to impossible heights...was riveting in both.”
Wynne Delacoma, Review of David Del Tredici’s Visitation and Haddocks’ Eyes
The Westsider
“....running the gamut of emotions and humor, (is) virtually impossible to perform...for a soprano for whom the crazy role of Zerbinetta in Ariadne auf Naxos would be child’s play...One wonders if a soprano of the spectacular gifts of Hila Plitmann is available anywhere else.”
Bill Zakariasen, Review of David Del Tredici’s Miz Inez Sez
Fanfare
“...Hila Plitmann deserves extra battle pay. She negotiates her often torturously high-lying passages with commendable ease, and projects the subtexts of the poems masterfully.”
William Zagorski, Review of David Del Tredici’s Miz Inez Sez
The Los Angeles Times
“...Soaring above the comic fray...exceptionally gifted...Hila Plitmann, who reiterated many of the beauties Strauss created for the female voice.”
Daniel Cariaga, Review of Le Bourgeois Gentilhomme
Miami Herald
“...Hila Plitmann was a commanding amplified soprano, spinning off the breathless, intricate White Night’s Song with ecstatic ease - and from memory, which Del Tredici said was a first.”
James Roos, Review of David Del Tredici’s Haddock’s Eyes
Jerusalem Post
“...One factor which made all shortcomings look insignificant - the angelic singing of Hila Plitmann. The clarity and purity of her voice are nothing less than bewitching.”
Benjamin Bar-Am, Review of Leonard Bernstein’s Chichester Psalms