Don't get me wrong, I love Liszt fantasias (more than some of his "better" music). But they were written for showing off his technique. I say that not as a criticism, but as a fact. That's why I said this type of piece is suited to Lang Lang's kid-with-a-toy, bouncing-on-the-seat approach to piano playing. I don't think it's suited to everything, though.
Ooooh, controversial... 
Jas
maybe one of the reasons, but part of the musics greatness is the piansitic innovations, they way things are written out on the piano, the arpeggion section, the handcrossing variation of the furious march theme, among other things, are essential to making the msuic come to life.
if beethoven was given the same tak of writing an operatic fantasy, it would have nowhere near the 'orchestral' scope and colour.
and that type of playing langlang exhibits is suited to this fantasy, its about a drunk guy who bones alot of women, what do you expect?
in norma hed look alot different im sure, but in the wagner liebstod transcription id expect nothing short of multiple orgasms. who could say no to that?
