‘Her command of the keyboard is, as always, breathtaking … when Hewitt tackles composers that call forth her special talents, she has few equals’ (Fanfare, USA)

‘Hewitt's recordings are self-sufficient without the need for comparisons, but her Schumann sonata can hold its own against Maurizio Pollini's impressive 1973 version … the best possible way to make its acquaintance’ (International Record Review)

‘As ever with this pianist, we get playing that is thoughtful, thought-provoking, finely finished and intricantly nuanced. She imbues the opening movement of the sonata with a sure sense of structure and pace, and finds more energy than many of her rivals in the Scherzo’ (Gramophone)

‘Angela Hewitt's seemingly effortless but always adventurous interpretations … her poise and amplitude lend it an unearthly beauty … she holds our attention as no other pianist has, in my experience, quite managed in the giant rondo of a finale … handsome in fortissimo and mesmerising in sotto voce, the piano range is well served by Hyperion's Italian-based recording’ (BBC Music Magazine)

‘Her technical control remains as poised as ever, but Hewitt pushes much harder at the margins of the expressive world that directs it … in the often problematic F sharp minor Sonata, Hewitt is unreservedly superb, making the music cohere formally without ever undervaluing its flights of lyrical fantasy. For her the slow movement is the emotional heart of the whole sonata, but she is equally impressive in the rangy finale too, boldly characterising its component parts yet always conveying the sense of an organic whole’ (The Guardian)

‘The clarity of line is a Hewitt hallmark. It is present through the buzzing Allegro vivace, passing from right hand to left and back with seamless fluency, and it soars with the most delicate lightness through the Aria … Hewitt's Scherzo explodes with rhythm … the crushed notes are flashing sparks that might ignite. The Finale almost tumbles over itself with key-changes, expression and dynamics, but Hewitt contains all in a lover's embrace … it is as if genius has stepped out of its trance. This is joyful and exuberant play … a compelling Schumann player’ (Classic FM Magazine)

‘An outstanding Helios CD … singing and playing of the highest order’ (Gramophone)

‘Margaret Price sings consistently like an angel here, though it probably needs a human to inject such variety and ardour as we find throughout this recital … Price and Johnson are in wonderful accord, and in a year already notable for Lieder recitals this will take a high place’ (Classic CD)

‘A superb Schumann disc’ (The Penguin Guide to Compact Discs)

‘Finley has carefully absorbed from his immortal predecessor the art of careful enunciation of every syllable in a natural but meaningful way … lovers of Schumann's Lieder and of great singing will not hesitate to plump for this stellar release; enthusiastically recommended’ (Fanfare, USA)

‘Op 39's settings of Eichendorff deal in dislocation, nostalgia and threatening landscapes. Gerald Finley and pianist Julius Drake are well attuned to those pervading atmospheres and psychological shifts; beginning with the veiled tone with which Finley opens Op 39 every song is individually coloured … and the text is always clear’ (The Guardian)

‘Julius Drake is perfectly attuned to the palette of shifting colours in Finley's dark baritone—here on top form’ (BBC Music Magazine)