"My longtime favorite recording (of the Shostakovich Concerto) has been the one with Argrich and Faerber on Deutsche Grammophon which features the outstanding trumpet playing of Guy Touvron. But I think this version with Rankovich now takes pride of place. It's really quite stunning..."

"What I like about Rankovich's performance is that she's not afraid to get her hands bloody kneading the raw meat. She doesn't try to sanitize the music, but plays it for what it is and all it's worth. the only other version I know that matches Rankovich for fearless foulness is Martha Argerich's Deutsche Grammophon recording, and that's high praise indeed.."

— Jerry Dubins / Fanfare

"Rankovich, one of those miracle musicians who can make musical architecture breathe and come alive, can also thrill you just with her sound. I have seldom heard the musical climax to phrases so tellingly prepared for and placed without losing a sense of the thrust of the entire movement. Most of the works here don't require a pianist this good. Certainly the Crestons don't, despite their genuine attractiveness. Still, she lavishes her considerable musicianship on them and makes a persuasive case. You know just how good a musician she is when you realize that the Creston and the Giannini works are premiere recordings. To all intents and purposes, she's the moonwalker. She hasn't heard these pieces before. Later interpreters will take her readings into account."

— Steve Schwartz / Classical.net

"The second half belonged to Tatjana Rankovich (who teaches at Mannes College of Music), with the world premiere of Mr. Rubenstein's Romance No. 2 (aurora), a graceful exercise in legato simplicity occasionally diving into more complex pools. Her introspection matched the composer's, whose inspiration seemed not far from say, Scriabin, but with tiny touches showing an introspective mind at work. She ended the evening with four of Henry Martin's Preludes and Fugues, a set mirroring the layout of Bach's Well-Tempered Clavier. The slight acidity and irregular meters of No. 7 are followed by the delicate prelude of No. 4, which ends with a thunderous fugue. No. 9 begins with a scherzo flirting with tango, and in No. 13, subtitled "A Slow Drag," the prelude's main theme combines with the fugue in a virtuosic finish. These are hardly pieces for the timid or those without expert chops, and Rankovich seems to know them inside and out, always making Martin's voicing easily audible and playing with casual brilliance, lightness and humor."

— Bruce Hodges / Musicweb International (Jan-June 2008)