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

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 

 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

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

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 

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

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 of
Xiaogang YE Symphony No.3, "Chu". José Serebrier, 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. 

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. 

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 

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