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- Geraldine Freedman, in the ''The Daily Gazette''
- It’s a very long work that goes for almost 50 minutes [actually 30 minutes] of constant playing. Like much of Liszt’s music, this one ebbed and flowed from great dramatic moments to quiet ephemeral sections filled with a romantically ethereal melody. It took a page or so of music before Wang was completely involved emotionally, but once she was — wozzah. She has technique to burn. Her octave runs at lightning speed were incredible. The volume and big sound she got out of the piano, which in the big chordal passages sounded like giant footsteps, contrasted sharply with the lacy streams of notes. Her delicate stroking of the melody was like angels singing. Now and then, she’d lift off the piano stool in her intensity. Yet with all her passion, Wang was always in control. Her concentration was focused. She was unhesitating in pacing herself in accordance with the work’s demands. Her vision was a dramatic one. It was great stuff and the crowd loved it. Wang got a standing ovation and several curtain calls.
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