Yes, there is brilliance, perfection, precision, impetuosity, in short everything in these performances that any "music lover" keen on floating amidst waves of "luscious, gorgeous romantic music", or any "piano connoisseur" might cherish. What is missing, though, are the distinct, individual voices of each composer. For there is only one and the same voice indeed in all these performances: the wearisome voice of self-complacent virtuosity whose end is in itself rather than in seeking and conveying the individual spirit of each composer. Some reviewer remarked of her Chopin preludes, "This is Argerich, not Chopin". But also, these are not Ravel, Liszt, Brahms or Prokofiev; they are all Argerich. Only hear Moravec, Francois, Arrau, Biret and Richter respectively, playing these composers. You will say, "this is it!" because they are serving their composers rather than their own image as a pianist. The reviewer above said, "Chopin cannot be played like Rachmaninov". But who else can? Her playing of Liszt sonata is considered as the greatest since Horowitz's by some reviewer here. For me, even the playing of such a pianist I'm not exactly crazy about, Alfred Brendel, is much more truthful and profound than hers, bringing forward the more future-looking, original aspects of Liszt that we hear in his late piano pieces. As for Horowitz, well, he is a traveler along the same road as Argerich. A Horowitz disc I had the mischance to purchase bore the title "Horowitz, the poet of the piano", and contained a performance of Kinderszenen which summarized all I try to say here. Only could he/Argerich let Schumann (or others, for that matter) be THE poet!