But that, again, presumes a certain goal: that a piano should always sound like it does from an audience's perspective in a hall, or whatever.
There are certainly reasons why someone may want to replicated that perspective - if you are trying to replicate the sound from where an audience would sit further away.
But that's not the only valid approach IMO. The fact audiences sit at distance is essentially a contingent, practical fact to some degree. They aren't playing the piano, and typically many people are watching, so many end up quite a distance from the piano, and that is a contingent fact of concert-going.
But as someone who plays piano, I find that nothing beats the sound of actually being in the position of playing the piano. The vividness and richness of every note is elevated relative to the ever-homogonizing effect the further away you are in a hall. I used to just hit a single note, or chord, and would just luxurate in the rich tone and rumble of being right near the body, sounding board and strings. So I LIKE the closer, bigger sounding micing of pianos, where I hear more of the luxurious timbral nuances and dynamics of the player.
Similarly, in many orchestral recordings it's often assumed you want to create the homogenized sound of the orchestra from hall perspective. And again that's an understandable goal. But I'm one of those who, like the piano scenario, really appreciates the individuality of instrumental tones and textures, which become more vivid when closer to the instruments. Which is why I often liked to sit quite close to orchestras. And so, while I can appreciate many of the "mid-hall perspective" recordings, I also really love a more close up sound recording as well. (All that with the caveats that even mid-hall/back hall sounding recordings often incorporate close micing with distant micing, but the final mix creates the more distant perspective).