"Always through the Changing" from moore's the Ballad of baby doe

The soloists were superb. Soprano Esther Heideman possesses a beautiful bell-like upper extension in her creamy voice and her joyous artistry pervaded the Cathedral. Even when she was not singing, her engaged stage presence radiated the sublimity of the music and its message...her fresh ornamentation was invigorating.
— Tedrin Blair Lindsay, Lexington Herald-Leader, 12.12.14

"THE WILLOW ARIA" FROM MOORE'S THE BALLAD OF BABY DOE

Esther Heideman...was sweet and shimmering in the finale of Mahler’s Second Symphony with the NY Philharmonic
— Steve Smith, New York Times, 12.10.08

HANDEL'S "GLORIA"

Heideman’s arrival continued the ethereal feeling. She has bell-like, clear tone, easy on the vibrato, and perfect for the folk nature of the work. Her phrasing was simple and effective. Her demeanor, furthermore, radiated joy. Anyone left tearful by the slow movement had no choice but to respond to her warmth.
— Mary Kunz, The Buffalo News, 1.4.04

Schubert's "ganymed"

Soprano Esther Heideman was the perfect Carolina, bold and assertive, yet simultaneously ladylike and elegant as well. Her lovely, honeyed voice was consistently a pleasure to hear. Her phrasing was elegant and her diction superb.
— Terry Ponick, Washington Times, 10.21.10

"OH, QUANTE VOLTE" FROM BELLINI'S I CAPULETI E I MONTECCHI

The great Austrian’s Exsultate Jubilate Motet for soprano and orchestra is not an easy thing to sing, but presented no problem for Esther Heideman. Her lovely, beautifully placed voice soared through the long coloratura passages. The lyric middle passage was sung with real feeling, and the final Alleluia was done with total finesse.
— James Jerritt, Richmond Times Dispatch, 6.5.00