Gramophone  “Among the score’s finest pages are the solos and duets of the three female characters – Yeshua’s mother and Mary Magdalene – sung with lustrous expressivity by the soprano Hila Plitmann and mezzo-soprano J’Nai Bridges” 
—Donal Rosenberg, review of Richard Danielpours’ CD The Passion of Yeshua. 

Los Angeles Times  “Thankfully, nothing could diminish the piercing intensity of soprano Hila Plitmann’s Snow Owl.” 
—Mark Swed, review of the Los Angeles Philharmonic and Los Angeles Master Chorale’s performance of Philip Glass’ CIVIL warS; 
Grant Gershon, conductor. 

Los Angeles Times  “Christopher Cerrone’s “The Pieces that Fall to Earth”, a song cycle to texts by Bay Area poet Kay Ryan, was the evening’s hit. It featured soprano Hila Plitmann, who memorized the songs and acted them out with a compellingly dramatic punch, intensified by amplification.” 
—Mark Swed, review of Los Angeles Philharmonic’s performance of Chris Cerrone The Pieces that Fall to Earth; John Adams, conductor. 

New York Times  “…the agile soprano Hila Plitmann brought radiant sound, even during passages of skyhigh vocal writing” 
—Anthony Tommasini, review of George Benjamin’s Into the Little Hill, Mostly Mozart Festival at Lincoln Center. 

Classical Source  “Hila Plitmann in Detroit was amazing…through the clearly enunciated words and unstinting devotion to the music – the one made indivisible from the other – she was (anyway) vocally and dramatically unassailable. Mr. Tambourine Man is an inspired piece and sustains its near-on forty minutes completely and compellingly.” 
—Colin Anderson, review of John Corigliano’s Mr. Tambourine Man with the Detroit Symphony Orchestra; Leonard Slatkin, conductor. 

Fanfare Magazine  “The supreme eloquence of Plitmann (encountered previously on the Time and Distance album), is confirmed here. She has a brilliant way of conveying the direction of a line via the most perfect legato while maintaining exemplary diction—no easy feat.” 
—Colin Clarke, review of Mark Abel’s CD The Cave of Wondrous Voice. 

Opera News  “The always-impressive Hila Plitmann, a specialist in contemporary art song, sings with a plush, enveloping tone and amazingly clear diction all the way to the top of her range…” 
—Joshua Rosenblum, review for Mark Abel’s The Palm Trees are Restless (on the ‘Home is a Harbor’ CD). 

Gramophone  “His marriages of subtly charged music with an eclectic modernist twist to emotionally provocative, introspective texts work best in Those Who Loved Medusa, set to Kate Gale’s haunting poem, in which Hila Plitmann gloriously evokes Medusa deep in a lover’s night.” 
—Laurence Vittes, review for Mark Abel’s CD Time and Distance. 

Fanfare Magazine  “Jerusalem-born Juilliard graduate Hila Plitmann has a stunningly pure soprano voice here…Plitmann’s melismas are simply hypnotic. The whole is wonderfully shaped by Serebrier, who clearly inspires his players to their best…"Silk" and the concluding "Soul" also employ a wordless soprano in the manner of Vaughan Williams's I Pastoral Symphony, hauntingly delivered by the superb Israeli soprano Hila Plitmann.” 
—Colin Clarke, review for Xiaogang YE Symphony No.3, "Chu". José Serebrier, conductor. 

Variety  “...the dazzling Plitmann breaks one's heart as the shell-shocked mother desperate for otherworldly solace.” 
—Bob Verini, review of Stephen Schwartz’s opera Seance on a Wet Afternoon with the Santa Barbara Opera. Washington Post 

The Washington Post “...performed with ceaseless energy and stratospheric high notes by a soprano who appears to be channeling Lucia di 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 with The National Symphony Orchestra, Leonard Slatkin, conductor 

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 with The Los Angeles Philharmonic. 

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 Boston Court Theater’s production of Eric Whitacre’s Paradise Lost: Shadows and Wings. 

BackstageWest  “Hila Plitmann...brilliant, eliciting strong empathy and singing gorgeously” 
—Les Spindle, review of Boston Court Theater’s production 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 Boston Court Theater’s production 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 Boston Court Theater’s production 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 (on the ‘Awakenings’ CD). 

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 with the Orpheus Chamber Orchestra. 

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 character and vocal prowess is nervy Hila Plitmann (as Sharon)...(singing) a fiery rendition of an aria from Macbetto.” 
—Rob Kendt, review of The Fountain Theaters’ production 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 The Fountain Theaters’ production 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 with the Chicago Chamber Orchestra 

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 Magazine  “...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 (from Secret Music CD). 

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 Richard Strauss 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 with The New World Symphony. 

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 with the Israel Philharmonic.