The Arizona Daily Star

"The "Emperor" concerto hovers between classicism and romanticism. Cano inhabited this difficult borderland with ease, resisting the piece's many temptations to virtuosic display, while doing justice to its nascent yet at times already lush romanticism. Throughout, he maintained an appearance of beatific calm, even as music of elegant fire emanated from his fingers.

In the adagio, the piano lulls the orchestra into gentle acquiescence to its lead. Cano and the orchestra luxuriated in the slow ripplings of the adagio's melody.

At the start of the final allegro, the piano leaps forward again into the astonishing, even swashbuckling bravado of the apeggios that make this piece so famous. At times, this fame has lured professional musicians and amateur listeners into mistaking it for easy. As Cano himself has noted, though, Beethoven's composition is full of fiendishly awkward moments for the soloist.

No awkwardness was in evidence. The piano is a notoriously difficult instrument to make sing, but Cano made it sing at both quiet and triumphant moments."