Corinne Winters, Bournemouth Symphony Orchestra, Kirill Karabits - Esther (2026) [Hi-Res]

Tracklist

CD1
01. Esther, Act I: Scene 1, Déplorable Sion, qu'a tu fait de ta gloire? (Cantor, Choir)
02. Esther, Act I: Scene 1, Est-ce toi, chère Élise? (Esther, Elise)
03. Esther, Act I: Scene 1, Peut-être on t'a conté la fameuse disgrâce (Esther)
04. Esther, Act I: Scene 1, De mes faibles attraits le roi parut frappé (Esther)
05. Esther, Act I: Scene 1, Hélas ! Durant ces jours de joie et de festins (Esther)
06. Esther, Act I: Scene 1, N'avez-vous point au roi confié vos ennuis? (Elise, Esther, Women's Choir)
07. Esther, Act I: Scene 1, Quand verrai-je, ô Sion! (Women's Choir)
08. Esther, Act I: Scene 2, O reine infortunée! (Mordecai, Esther, Elise, Women's Choir)
09. Esther, Act I: Scene 2, Laissez les pleurs, Esther (Mordecai)
10. Esther, Act I: Scene 2, Hélas! ignorez-vous quelles sévères lois (Esther, Mordecai)
11. Esther, Act I: Scene 2, Allez, que tous les Juifs dans Suse répandus (Esther)
12. Esther, Act I: Scene 2, O mon souverain roi (Esther)
13. Esther, Act II: Scene 1, Adonaï (Choir)
14. Esther, Act II: Scene 1, Venez. Partout ailleurs on pourrait nous entendre (Hydaspe, Aman)
15. Esther, Act II: Scene 1, Dans les mains des Persans jeune enfant apporté (Aman)
16. Esther, Act II: Scene 1, Vous serez de sa vue affranchi dans dix jours (Hydaspe, Aman)
17. Esther, Act II: Scene 2, Ainsi donc, sans cet avis fidèle (Ahasuerus, Asaph, Hydaspe)
18. Esther, Act II: Scene 2, O Seigneur (Aman)
19. Esther, Act II: Scene 2, Je vois, que la sagesse elle-même t'inspire (Ahasuerus)
20. Esther, Act II: Scene 2, Seigneur, je n'ai jamais contemplé qu'avec crainte (Esther, Ahasuerus)
21. Esther, Act II: Scene 2, O bonté qui m'assure autant qu'elle m'honore! (Esther, Ahasuerus)
22. Esther, Act II: Scene 2, Dieu d'Israël (Choir, Cantor)
23. Esther, Act II: Scene 2, Orchestral interlude

CD2
01. Esther, Act III: Scene 1, Danse Scythe
02. Esther, Act III: Scene 1, Danse Hellenique
03. Esther, Act III: Scene 1, Danse Assyrienne
04. Esther, Act III: Scene 1, Danse Parthe
05. Esther, Act III: Scene 1, Oui, vos moindres discours ont des grâces (Ahasuerus, Esther, Aman)
06. Esther, Act III: Scene 1, Esther, Seigneur, eut un Juif pour son père (Esther, Aman, Ahasuerus)
07. Esther, Act III: Scene 1, Notre ennemi cruel devant nous se déclare (Esther)
08. Esther, Act III: Scene 1, Mardochée? (Ahasuerus, Esther, Aman)
09. Esther, Act III: Scene 1, Mortel chéri du ciel (Ahasuerus, Esther)
10. Esther, Act III: Scene 2, Dieu fait triompher l'innocence (Choir)
11. Esther, Act III: Scene 2, Réjouis-toi, Sion, et sors de la poussière (Choir)
12. Esther, Act III: Scene 2, Réjouis-toi, Sion (Esther, Elise, Mordecai, Ahasuerus, Choir)
13. Esther, Act III: Scene 2, Que le Seigneur est bon! (Mordecai, Esther, Elise, Ahasuerus)
14. Esther, Act III: Scene 2, Que son Nom soit bén (Esther, Elise, Mordecai, Ahasuerus, Choir)



The Bournemouth Symphony Orchestra and conductor Kirill Karabits, joined by an outstanding cast led by Corinne Winters, present the world premiere recording of Thomas de Hartmann’s lost opera Esther.

Often written by candlelight during the Nazi occupation of Paris, Esther was composed as de Hartmann—a non-Jewish Ukrainian expatriate—lived through the unfolding horrors of the Holocaust. He perceived profound parallels between those events and the Biblical story of Esther as dramatized in Jean Racine’s play, from whose text he adapted the libretto.

Esther is perhaps the only major musical work composed contemporaneously as a direct artistic response to the Holocaust. Bringing this long-neglected work to life has been a rewarding undertaking, involving extensive engagement with the composer’s handwritten score and the preparation of a new modern performing edition. This process required close study of de Hartmann’s orchestral writing and stylistic language.

Esther is a distinctive work that bridges opera and oratorio, its dramatic momentum shaped through extended monologues, choral commentary, and a triumphant final ensemble. Richly orchestrated, it reflects the full breadth of de Hartmann’s artistic development—from his early training in Saint Petersburg and the influence of Rimsky-Korsakov, Arensky, and Taneyev, to later creative periods in Munich and France, and his search for a deeply personal musical language. Esther, the composer’s largest and most ambitious later work, stands as a summation of his eclectic, polystylistic approach and a compelling rediscovery for today’s performers and listeners.

This album marks the next chapter of the Thomas de Hartmann Project, bringing the composer's music back to the listening audience.