“…. the piece which left the most enduring impression was “Sails Returning to Yabase.” Its erhu solo, which showed off the astonishing technical ability of Wang Guowei, …lifted the piece and the spirits.”
— Paul Somers, Classical New Jersey (Nov. 22, 2000)


“The technique and artistry of these musicians is outstanding, but the star of the ensemble was Wang Guowei, whose mastery of the erhu, the gaohu and the zhonghu, three Chinese two-stringed fiddles of increasing size, is phenomenal.”
— Joe and Elizabeth Kahn, The Chronicle, Duke University (Feb. 23-29, 2000)


“…. the Yings had preceded this quartet with another work by Ms. Yi [Chen Yi] featuring an actual erhu paired with string quartet. Wang Guowei was the nimble soloist, and it was striking how smoothly his sonority blended in with the four Western instruments ….”
— Jeremy Eichler, The New York Times (May 9, 2003)


“What came before it was equally fascinating. First a solo on the erhu, a two-stringed fiddle, by Wang Guowei, an extraordinary performer ….”
— Joseph McLellan, The Washington Post (Mar. 18, 2005)


“An overflow audience at the Kalamazoo Nature Center auditorium heard Guowei performing solo in the opening piece, ‘Listening to the Pines.’ He clearly was master of the erhu, exhibiting the lyrical linear melodies possible with the instrument so strange to the Westerner.”
— C.J. Gianakaris, Kalamazoo Gazette (June 29, 2005)


“Wang’s mastery of the nasal-sounding erhu was a highlight of the evening.”
— David Stabler, The Oregonian (Nov. 14, 2005)


“The concert ended with Zhou’s [Zhou Long] ‘Tales from the Cave,’ a thrilling ride for erhu and percussion instruments…..It was a virtuoso piece for the delicate erhu and Wang whirled through the challenges, holding his own against the brazen bunch behind him.”
— David Stabler, The Oregonian (Nov. 14, 2005)


“Wang Guowei on the erhu ……exceedingly fine artists who know how to coax extraordinary music from their instruments.”
— C.J. Gianakaris, Kalamazoo Gazette (Sept. 14, 2006)


“Wang Guowei showed impressive artistry on the solo erhu, affectingly performing a traditional Chinese folk piece, ‘Song of Henan’ ….Guowei was a master of smooth glissandos, suspended tremolos and fantastic trills. More solo selections from him were needed to sate the audience.”
— C.J. Gianakaris, Kalamazoo Gazette (July 1, 2007)


“The erhu was heard in ‘Sheng,’ an inventive work by Wang Guowei that moved deftly between Western and Chinese gestures. Mr. Wang was the erhu soloist.”
— Allan Kozinn, The New York Times (April 16, 2008)


“At first glance, the saxophone quartet Prism and the instrumental ensemble Music From China would seem to be strange bedfellows….At the Freer Gallery’s Meyer Auditorium on Sunday, the answer seemed to be that, given the right music, this could be a strangely satisfying collaboration. Perhaps most successful in this respect, to Western ears, was the three-movement ‘Songs for Huqin and Saxophone Quartet’ by Wang Guowei, in which the astringency of the fiddle soared like a vocal solo over paired saxes playing two octaves apart.”
— Joan Reinthaler, The Washington Post (March 3, 2009)


“The disc [Antiphony, PRISM Quartet & Music From China, INNOVA label] opens with two beautiful movements by Wang Guowei …. scored for huqin and the saxophone quartet: a pensive Pastorale inspired by music of Inner Mongolia, and Crescent Moon at Dawn, a vivacious folk song from northeastern China that oddly intersects with Jazz Era connotations from the saxophones.”
— James Keller, Chamber Music Magazine (May/June, 2010)


“It was easy to appreciate Wang Guowei’s mastery of the instrument, and the boa-constrictor-skin soundbox gave him uncanny projection…. Hence in an arrangement of Mozart’s early Violin Sonata K.7, the erhu held the attention even when playing an inner part, and came across beautifully, rather as an oboe would, in the solo of the central section.”
— David Beech, Peninsula Reviews (March 12, 2011)


“The other premiere was of Tea House II, a composition by Music From China’s own erhu player, Mr. Guowei. The piece demonstrates Mr. Guowei to be a composer of great vitality…..”
— Evan Tucker, The Washington Post (Nov. 4, 2011)


“An expert molder of near-chaotic energies, she [composer Fang Man] assigned her melody to the erhu (a two-stringed fiddle), played expressively by Wang Guowei.”
— Steve Smith, New York Times (Feb. 5, 2012)


“The Song of Henan, by Liu Ming Yuan, was Wang Guowei’s fascinating erhu solo that was remarkable for the way it imitated human speech patterns and singing.”
— Lindsay Koob, Charleston City Paper (Jun. 7, 2012)


“….. the poignant, plaintive and moving “Leaving Home” (2014), by the ensemble’s erhu virtuoso, Wang Guowei.”
— Stephen Brookes, The Washington Post (Nov. 23, 2014)


“The world premiere of ‘Drinking Alone With the Moon’ (composed by Wang Guowei) is a perfect example. It combines the best of both worlds to produce something new and exciting, without violating the traditions of either culture.”
–Christopher Hyde, Portland Press Herald (Aug. 9, 2014)