“Ideal Debussy. Astonishing grace and floating sonorities once ascribed to Walter Gieseking’s renditions This is one of the most outstanding recordings of Debussy’s piano music in recent years.”
“Rare is the pianist nowadays who can play Debussy with such richness of sonority, such refinement in the variety of attacks, such a sense of musical architecture.
...without equivalent on disc... ”
“I was deeply moved by your Debussy Preludes CDs. Both the sonic and artistic achievement are beyond description. …Your CDs cost me one sleepless night searching for a piano recording that could match. …It outshines all my other Debussy collections. I’ve never heard (or seen) such rich Debussy colours....”
“An extraordinary range of colour.”
“A realm of sheer magic. She brings such incredible refinement and subtle poetry to these miracles of French impressionism that one can hardly wait to hear her playing at a live recital. The only thing I heard myself thinking after having devoured the pieces indicated: more, more, more. Five stars for this great artist!”
“exquisite…daring…always convincing…a mesmerizing and moving disc, and an outstanding addition to the Satie and Ravel discographies”
“This attractive disc collects three outstanding works for cello and piano from composers who were all contemporaries but who wrote in very different styles. All of the performances are very fine indeed, particularly the big Rachmaninov sonata in which pianist Francine Kay proves a commanding partner to Elizabeth Dolin’s passionately committed cello playing. They offer an impressively cogent account of the finale in particular, a movement that easily can sound too long in less adroit hands. The two players bring the necessary lightness of touch to the Debussy (where the central Sérénade has special atmosphere) and the right raw energy to the Janácek Fairy Tale. It’s a program that can be savored in bits or at a single sitting with equal pleasure.”
Oskar Morawetz’s Four Contrasting Moods for solo piano was premièred in Montreal in 1990 by Francine Kay, where the pieces were hailed by The Gazette as "skilfully wrought in a post-romantic style, but with a new indulgence in impressionistic color and fantasy".