There are a million and one opinions on practice. What follows is just one, but it has worked for me for a long time. These are suggestions not dogmas. You are bound to get conflicting answers!
Firstly, practice requires attention. You alone can tell how many repetitions you can manage before your mind starts to wander a little. As soon as it does, move on to something else in the same music, or another piece, or another activity entirely, and return later.
Two hours practice in a day might be better realized as, for example, eight fifteen minute chunks than as a single block. Consider that there may be an optimum daily amount you can learn, and that continuing past this point gives lesser and lesser returns. Nobody else can tell you these things about yourself, you have to discover them, by luck or determined self-awareness.
Be sure you aren't repeating the entire piece when only 10% of it gives you problems. This can save further time.
Secondly, your question mentions 'feel' and 'the technical parts' as if they exist separately. This can lead to trouble. Beware of the idea of practising something 'technically' first, then adding the 'expression' later. Every expressive end has to be achieved by technical means. I found practice without all the indicated expression to be a waste of time. For example, it feels quite different to play a passage crescendo as opposed to at a flat level. The crescendo itself needs practice to shape as you want.
Remember that we are creatures of habit. Repetition is very powerful: every time we do something, we are training ourselves to do it again. Therefore take care to minimize repetitions of things you don't want to do. Practising something motorically 100 times increases the chance that #101 will sound motoric whether you want it to or not.