[Beatrice Rana’s] detailing is one of the aspects that makes this performance so compelling, be it the bringing out of a new line in the repeat, subtle changes in phrasing, a touch of pedal – examples are to be found in every single variation. Dynamics are used to reinforce the mini-drama of a single number... Her application of ornaments is also wonderfully fresh, though ‘application’ gives completely the wrong impression, as the effect is unfailingly organic and ranges from the sublime to the cheeky. ... After a Quodlibet that rejoices in its simple good humour, the return of the Aria is as emotionally multifaceted as you would expect – mysterious, quizzical, noble, resigned, hopeful – setting the seal on a life-affirming disc.  Harriet Smith