“[‘Piano Sonatas K310-311 & 330 – 333’ recording released on Hyperion Records] It is an energetic, explicitly formulated visit to Mozart’s musical puppet theater, and in its intellectual and virtuoso agility it is quite comparable to the silent film acrobatics of the young Charles Chaplin. And even if it doesn’t always sound pleasant, there is much more truth in this than in the hordes of Mozart whitewashers that have bored us for too long: a radical, courageous undertaking that deserves attention.”

“Angela Hewitt gave a superb performance … the balance between soloist and orchestra always just right. Hewitt’s playing was crystal clear and felt fresh and personal, as if we were hearing this familiar music for the first time.”

“Through a personal selection and subtle order of presentation, Hewitt accentuated the astonishing variety of Bach’s keyboard concertos”

“Hewitt rests her head briefly on the top of the piano and recovers to accept the tumultuous applause. We’ve been privileged to hear an artist of astonishing brilliance who never lets us forget her humanity.”

“Angela Hewitt’s spacious, uncluttered approach revels unashamedly in the pianism while still letting the original songs sing. […] In all, this beautifully recorded recital [‘Love Songs’ recording released on Hyperion Records] is a gift to all song-loving pianists who wrestle with the instrument’s stubbornly percussive nature.”

“To have learnt this vast body of work by heart and performed it al over the world is a measure of her achievement and yet, even a much-played piece such as the concerto still emerges with pristine freshness in her flexible hands, and the attention to detail she lavishes on the smaller pieces always inspires admiration and love for this eternally rewarding music.”

“The English Suites… proved an ideal vehicle for Hewitt ​’s pianism, the individual lines dancing and brimming with character under her light and graceful touch…Hewitt and Bach are clearly a match made in heaven.”

“Angela Hewitt’s piano playing was superb; it’s a challenging part [Messiaen’s Turangalîla Symphony] (full of rapidly hammered fistfuls of notes), and she tackled it with the bravura and élan of a Griezmann, her right-hand-raised grandes gestes adding to the drama.”

“Grand architectural design was always in view, as things generally grew louder and slower. […] In the penultimate variation, Hewitt added octaves, apparently to achieve a richer, organ-like sonority. When the aria returned at the end, it seemed a fragile memory of better times. These were ​“Goldbergs” unlike any other.”

“What enviable poise and expressive beauty to launch the central Andante, what muffled and sustained opening octaves, what concentrated focus. This [Liszt’s Sonata in B minor] is possibly the very finest of Angela Hewitt’s many recordings.”