There’s no doubt about it, Angela Hewitt is a woman in her prime, and we, her audiences, are the fortunate beneficiaries of her decades of experience. Her latest programme for Musica Viva is not just beautifully constructed, it allows the Canadian virtuoso to demonstrate her depth of knowledge and her affinity for a range of composers from her great passion, JS Bach, through to French colourists like Ravel and Chabrier.

The first half was pure Bach, the First and Fourth Partitas, being played here as part of Hewitt’s ‘Bach Odyssey’, a four-year commitment to revisit the complete keyboard works of the composer with whom for many she’s most closely associated. Hewitt’s superpower, if you like, is her ability to be both serious-minded and playful all at once, a skill that renders Bach’s optimistic First Partita a complete delight. From the thoughtful, yet entertaining Praeludium, through the gay Allemande to the bounding tantivies of the galloping Corrente her technique never falters. Playing with a poised elegance, Hewitt is mistress of the trill, embracing Bach’s up to date (for the time) Frenchiness. Beneath her fingers, the Sarabande becomes a concentrated meditation and the Menuets a graceful ramble before dispatching the cheeky hand-crossings...