In a review in the June issue of Classica magazine, Michel Le Naour writes:
“Kerson Leong undoubtedly places himself on the highest peaks and stands shoulder to shoulder with the brilliance of Kremer, the freedom of Korcia, the sensitive finesse of Papavrami, the sovereign balance of Zimmermann, the spontaneity of Ibragimova, outclassing even the generosity of Mordkovich or the too tumultuous tensions of Zehetmair. More than a discovery, a real revelation.”