This celebration of dreams and childhood is, on the purely sensuous level, an unending delight. Piau's sweet, unforced tone, her bright top notes perfectly integrated with her medium and exemplary diction combine to make this in many ways yet another exmaple of how well Baroque vocal technique translates into the later song repertoire.

Piau's exquisite voice has a limpid quality all through its range, an evennes of tone which seduces the ear and - art concealing art - she makes her performance sound as easy as breathing...Bouchot's Galgenlieder songs,m with their skewed harmonies, off-centre melodies and dark fairy-tale lyrics, are a fascinating addition to the repertoire too, and Manoff's accompanying is a treat.

Piau brings her limpid tone, refined phrasing and easy, silvery top notes to this eclectic programme, built around the themes of night, dreams and the fantastic...With virtually accent-free English, Piau gives true and touching performances of three Britten folksong arrangements.

surrender to Piau's gifts as a singer, the purity of her tone, with that light silvery quality that we should associate with the best of the French style, and the effortless, so it seems, spinning of a seamless legato...Everything is grist to her mill, it seems, even Britten's most English songs that she delivers with immaculate diction while sounding completely at home in a second language...this is a sophisticated and a fine artist at work.

there's exquisite playing from Susan Manoff, and no mistaking the beauty of Piau's voice, or her hypnotic way with words. This is singing that sends shivers down your spine.

It's a journey whose darkest depths are reached by Vincent Bouchot's use of Morgenstern's Galgenlieder (Gallow Songs), in which are encountered more surreal images – notably the inhabitants of the moon depicted "show[ing] their teeth to the sulphurous hyena" in "Moonthings".