'He handles the unequal rhythms and meticulous ornamentation of the French Baroque smoothly and subtly. His speciality, though, is his imaginative, if sometimes speculative, spin on Couperin’s notation to characterise each piece […] Overall, there’s a lovely sense of Brachetta in conversation with Couperin through the printed page. This is enhanced by a recording which places you in the room with the player, and aided by Jane Clark’s expert note.'
BBC Music Magazine

'Guillermo Brachetta projects the French style very well, combining detailed expression with precise ornamentation and fluent phrasing. Tempi are, for the most part, well judged, although one could argue for more vitality in particular pieces.'
Choir & Organ

'Brachetta’s performance is extremely focused and reflects the continuous nuances that Couperin infuses into his ordres. He instinctively knows how to pace the registral changes that give the pieces life without making them merely mechanical, as is the danger. He brings out the subject matter, whether it is overt or rather more of a vague indication in the titles, and his ornamentation is exact. If you are looking for an excellent example of this most important set of pieces, look no further than Brachetta’s sensitive and lively renditions. Highly recommended.'
Fanfare

'Brachetta is certainly a fine harpsichordist, capable of pristine clarity of texture (just listen to the lucid interplay of ‘Les Gondoles’), impressive dexterity in both hands of the sort that makes it possible to execute the music’s many trills and turns with unfailing neatness and control, so that none seems an intrusion [… ] His way of spreading chords is often ravishing.'
Gramophone

'Tempos are calm and nicely judged, inégalité gentle and fluide, and ornaments almost unobtrusively absorbed into the musical lines.'
Early Music Review