All just my personal opinion
Concert review, joint recital Jonas Iten, cello & Andriy Dragan, piano, in Zurich (St.Anton), 2016-05-25 — Bach, Cello Suites No.3 & 4; Beethoven, Piano Sonata in C major, op.53, “Waldstein”; Schubert, Impromptu op.90/3, D.899; Ravel, “Alborada del gracioso” from “Miroirs”
Duo recital with Christoph Croisé and Oxana Shevchenko, Tonhalle Zurich, 2015-11-07 — Béla Bartók: Rhapsody No.1 for cello and piano, Sz.88 / BB 94; Claude Debussy: Cello Sonata in D minor (1915); Franz Schubert: Arpeggione Sonata in A minor, D.821; Alberto Ginastera: Pampeana No.2 – Rhapsodie for cello and piano
Beethoven: Violin Concerto in D major, op.61 — comparing recordings with the following artists: Batiashvili (2007), Busch/Busch (1942), Faust/Abbado (2010), Francescatti/Walter (1961), Grumiaux/Galliera (1966), Heifetz/Munch (1955), Huberman/Szell (1934), Jansen/Järvi (2009), Kennedy (2007), Kopatchinskaja/Herreweghe (2009), Kreisler/Blech (1926), Kremer/Harnoncourt (1992), Menuhin/Furtwängler (1947), Milstein/Szell (1964), Mullova/Gardiner (2002), Oistrakh/Gauk (1952), Oistrakh/Cluytens (1959), Stern/Bernstein (1959), Szeryng/Schmidt-Isserstedt (1965), Suk/Konwitschny (1962), Tetzlaff/Zinman (2005), Zehetmair/Brüggen (1997)
Mahler: Symphony No.5 — comparing recordings with the following artists: Walter/NYPO (1947), Haitink/Concertgebouw (1970), Solti/Chicago SO (1970), Abravanel/Utah SO (1974), Sinopoli/Philharmonia (1985), Bernstein/VPO (1987), Abbado/BPO (1993), Zinman/TOZ (2007)
Haydn: Cello concertos No.1 C & No.2 D — Maisky (1986), Mørk/Brown (1992), Rostropovich/Brown (1975), Isserlis/Norrington (1996); Haydn: Sinfonia concertante in B♭ major, Hob.I/105 — Antal Doráti (1972), Dennis Russell Davies (2009), Sir Roger Norrington (1996)
(…) stunned by Han-Na Chang’s performance of the Haydn C major concerto (…). That performance dates back some 7 years (2005) — but she had recorded both Haydn concertos already back in 1998, when she was 16; in that YouTube performance, it was amazing to see not only her enormous technical skills, but also her freedom of expression, and how much she has detached herself from technicalities, how much she is totally relaxed and appears to enjoy her own playing while visually communicating with the orchestra…