‘The duelling bird chirrups of Le rappel des oiseaux … are carried off splendidly, as is La Poule … moreover, where in such pieces the punishing finger gymnastics of Rameau's ornamentations and trills can so easily descend into a typewriterish rattle, here they sparkle with energy and easy agility. Hewitt often draws a vibrant, remarkably harpsichord-like sound from her instrument…she is always an impressive pianist and this disc is a welcome addition to the meagre Rameau catalogue’ (Pianist)

‘There is a gleam to Angela Hewitt's sound that takes up Rameau's keyboard pieces, perhaps the ultimate harpsichord music, and sells them with considerable noble persuasiveness on the modern piano … Ms Hewitt delights in this music's energy, and her love of its peacock displays of flourish and ornament are nearly irresistible … like her Bach, her Rameau recordings demonstrate a fastidious heeding of the composer’s intent, with meticulous ornamentation and articulation’ (The New York Times)

‘This magnificent disc of three of his immensely attractive keyboard suites should help to enlighten us. Angela Hewitt responds to them with a combination of directness and delicacy that is irresistible. Rhythms are vital, rubato is subtle, yet never draws attention to itself, the abundant ornamentation flowers with brilliant naturalness, and her masterly touch persuades you that the piano is the perfect instrument to realise Rameau’s richly coloured music’ (The Sunday Times)

‘She is, of course, a master pianist with the kind of refined finger technique and musical sensibility that can bring to Baroque music all the clarity of line and texture it needs … there is some wonderfully tender music-making’ (Gramophone)

‘This release has come as something of a revelation … Hewitt's digital dexterity is by now very well known. What is interesting here is the way in which she deploys her fingers (and her musicianship) in the service of Rameau's particular idiom … after listening to this disc, I almost couldn't believe I had experienced what it contains. I felt like keeping the music, and Hewitt's performances, in my mind and ear, while also wanting to recapture them in physical sound’ (International Record Review)

‘There is something about Angela Hewitt's playing of these three substantial suites which leaves the listener entirely convinced that the piano is as capable as any early 18th-century instrument of realising Rameau's intentions. Indeed, in less extrovert descriptive pieces such as the G minor Suite's gently melancholy Les Triolets, it enhances the music's tender expressiveness without sounding at all anachronistic. On the other hand, the crispness and clarity of Hewitt's tone, the sensitivity of her touch and the exquisite precision of her ornaments mean that the clucking hen in La Poule, and the gloriously spontaneous-sounding efflorescence of birdsong in Le Rappel des oiseaux (from the G minor and E minor Suites respectively) are as characterful as any connoisseur of Baroque keyboard playing could wish for. Dance movements are equally well served, from the nobility and grandeur of the A minor Suite's Courante with its sonorous spread chords, to the E minor's charming pair of lyrical rather than sprightly Gigues. Every piece is the epitome of Parisian elegance’ (The Daily Telegraph)

‘Hewitt, performing on a favoured Fazioli piano, is on top form in these three keyboard suites by Rameau … speeds are steady, rhythms crisp and real singing tunes emerge from the harmonic weft … this interpretative level is maintained throughout the CD. The year is off to a flyer’ (The Times)

‘Hewitt clearly relishes the colour and rhythmic energy of these dance sequences; her performances have a wonderfully fluid stylishness, with scrupulous ornamentation that never seems self-consciously correct, and they are founded upon a willingness to use the full tonal resources of a modern concert grand in a way that seems to make utterly irrelevant any question of what is historically or musicologically 'correct' in playing this music’ (The Guardian)

'Crossland here claims Rameau for the piano and her programme is elegantly plotted, though in Les Cyclopes there's no substitute for the harpsichord’s menace' (BBC Music Magazine)

‘Skidmore, a painstaking conductor, breathes boundless energy into his many-coloured orchestra; the group provides faultless support for the exquisite soprano Carolyn Sampson’ (Goldberg)

‘Carolyn Sampson's voice almost inevitably gives pleasure and her singing of this repertoire, strikingly varied in its stylistic and expressive ranges, is well nigh ideal’ (BBC Music Magazine)

‘The English soprano's musical intelligence, effervescent communication and richness of sound add up to a compelling package, especially so in this carefully chosen selection of Rameau's operatic love songs’ (Classic FM Magazine)