(Photo Credit: Brad Howe Photography)
"The program for this recital was an eclectic mix of music in roughly chronological order. However, the obvious connection within the program was that Wan clearly had an emotional tie with each one. Perhaps the best thing about watching her perform is the joy she exudes while playing. Wan has a sort of quiet intensity that manifests itself regardless of the mood set by the music ... A Prelude and Fugue from Bach's Well-Tempered Clavier opened the concert with a showcase of Wan's intricate interpretation, mixing precise articulations with independent phrasing of each melodic line, apparent especially in the Fugue. An exuberant performance of Mozart's Sonata in D (K. 576) followed. Watching Wan's face light up with a smile while her fingers rapidly flew over the keys added to the music greatly. The serene Adagio middle movement featured a carefully phrased, lyrical melody and was bookended by two faster movements with playful articulations ... Rapid and intricate patterns in the Impromptu [Op. 90, No. 2 by Schubert]
are almost harp-like in suggestion, and it was fascinating to see Wan's sense of humor at the transitions from the main theme and back again ... Wan closed her program by performing the Scherzo in E (Op. 54, No.4) by Chopin. Through this piece, it was clear that Wan performed the music with feeling that involved every fiber of her being. The middle of this piece features a slower section, with a melody that was more mysterious in contrast. It then returns to a beautiful ending, which in turn, ended the concert beautifully."
- Chelsea Huber, Music Critic, The Classical Voice of North Carolina (review on a recital at Meredith College in January 2016)
“… Wan plays these Schumann pieces as expressively and poetically as anyone I’ve heard, always placing her technical mastery at the service of Schumann’s ever-inventive musical imagination. This is an especially well-presented recital, as beautifully played as it is recorded. … as much for your sake as for Wan’s, I’d urge you to obtain a copy of it. You won’t be disappointed; I promise.”
- Jerry Dubins, Music Critic, Fanfare Magazine (review on compact disc, "Robert Schumann - Romance at the Piano")
"Ms. Wan put her all into a substantial program that she clearly knew down to each millisecond ... Her steadiness was remarkable ... the greatness of the music shone through. The moderately paced Bourres hald the most interest, showing playful articulations and voicing ... The Mozart Sonata in F Major, K. 332, was colorfully interpreted. A good range of dynamics was realized, and the Mozartean drama was well delineated in what an excellent performance. The attention to detail Ms. Wan showed will be of great benefit to her students ... [In] the two Chinese works, there were moments of virtuosity, but Ms. Wan's involvement seemed most intense in the softly expressive moments ... Ms. Wan's joy in music making was infectious. Her encores of Chopin were meltingly lovely, closing an enjoyable debut."
- Rorianne Schrade, New York Concert Review
“The conference's opening concert began with Pui-Shan Cheung's piano work, Three Chinese Paintings, beautifully performed by talented pianist Agnes Wan. Separated in to three movements, "Lotus Pond", "Cloudy Mountains", and "Wildflowers", the work exhibited an array of virtuosic musical flourishes which Wan executed energetically.”
- Feminist Music and Theory Conference, University of North Carolina Greensboro Music Review
“A totally committed and involved interpretation of this music. Compelling artistry that draws the listeners in and envelops them with musical joy … There is nice poetry and flow to your lyrical playing … terrific variety of sound and meaningful sonority … Big pianist. Big musician. Big potential.”
– Adjudicators’ comments, Los Angeles Liszt International Piano Competition
"She (Agnes) plays with technical fluency, dramatic sweep, and musical conviction. At times, I feel that her whold being exudes musicality."
- Uriel Tsachor, Professor of Piano, The University of Iowa