Personally, I think it is amazing for Chinese pianists. There are many interesting places, such as the kind and poetic Aria, such as the fast Var5, which emphasizes several loud chords in the high-speed progression phrases, creating a very chic aura, such as the hard-to-get rhythm changes of Var16, Humorous and atmospheric. On the whole, it is more romantic, and you can hear some unrestrained joy and detachment. Whether you associate it with Eastern-style poetic feelings or understand it as something personal to her, in short, it is recognizable and not as routine as @soldy said. This kind of feeling does not become sentimental or undisciplined, does not lose details and is delicate and reasonable at the level of polyphony, and can be more authentically integrated into the Baroque discourse environment. This is already very good and remarkable.

Using rubato itself is not a fuss. Hewitt's Var13 is as graceful as improvisation, and Tureck's Var25 is as graceful as poetry, but it is not authoritative because it has not been seen before. In fact, rubato will be introduced to some extent in these performances nowadays, especially the slow G minor Var25, and most of them will not be too rigid. Zhu Xiaomei's performance should be said to have given a more convincing sense of control.

Gothenburg itself is rich but not difficult, giving performers a lot of room for interpretation, so interesting and good versions can emerge in endlessly. The partitas played by Xiaomei's mother-in-law sounds a bit weak and sentimental, and the row upon row of polyphony is not interesting enough, but playing Gothenburg will not make people think so.

There is still not much comparison with Gould's performance. First of all, Gould's touch is different from everyone else's. The large number of staccatos greatly highlights the clear and even characteristics of his notes, and he has a strong sense of support in the presentation of his voice. Different people interpret the music phrases, so it is difficult to describe them all.

btw Zhu Xiaomei’s Mandala version is not available on disc in China, so you may consider using eDonkey to download it for lossless listening. The reverberation is a bit loud, and the keystrokes may not be so clear when moving fast. The quality of the live video in the question was really not good, so I didn’t listen to it. The performance style is very different from the studio version.

I just listened to the performance today and felt her delicacy, smoothness and skill. What I want to say is that in other pianists, I see a natural control, which is normal. After having been with the piano for so many years, this familiar control is not surprising. And a kind of light will be generated from this aura, making you feel that it is dazzling. But Zhu Xiaomei didn't. She was sitting at the piano, still an ordinary woman, wearing a brown gown, black trousers, and a red scarf. She didn't feel like she was controlling the instrument. She dedicated herself to it, that kind of The feeling of a drop of water dissolving into the sea, without any dissonance, just adds more charm to this piece. It does not draw too much attention, allowing people to focus on the flying fingers and the music. This kind of selflessness and unawareness makes people even more touching, as if she is saying that she is not here.