“Claire-Marie Le Guay is convinced that life is more beautiful in music! The flight of notes on the cover illustrates the enthusiasm that spreads throughout the pages in a variation of rhythms under the passionate guidance of a piano virtuoso and sensations. Whether dismissed as a priori or restrained, this brilliant book is not just for the insiders! “Life is better in music” is a didactic book for all emotions, which succeeds […] ” Read more on the site

Nathalie Gendreau, PrestaPlume, Feb. 2019

” Claire-Marie Le Guay proposes a work in the form of a counterpoint. Two narrative threads intertwine: the artist’s personal memories and descriptions of the works that marked her. With small touches, the pianist tells us about her career, her childhood in a music-loving family, her studies at the PAris Conservatory with Jacques Rouvier and Bruno Rigutto, her encounters with Yehudi Menhin, Gidon Kremer and Daniel Barenboim. Between these evocations lie many notebooks presenting the great works of the repertoire ( and some of them less well known): in a few words, Claire-Marie Le Guay draws a historical context, deciphers a title, analyses a style - with the desire to share her passion. Certainly this book of popularization is above all a roadmap offered to those who would like to build a musical culture. But the faithful reader of Diapason will nevertheless be able to learn something from it, with a quote from Victor Hugo on silence or the presentation of a rare work - the Water Games by Bruno Mantovani, for example. This is a sincere and unpretentious work, two qualities that often make it possible to touch right.”

Jérôme Bastianelli , Diapason, Jan. 2019

« Invited for the third time to the festival, Claire-Marie Le Guay is a gentle and subtle creator. She approached each sentence of Mozart’s famous sonata KV311 with great sensitivity and a true love for details. The Parisian then carefully demonstrated the range of colours of her playing and very delicate touch in Bach’s first partita. In the Italian concerto Claire-Marie Le Guay underlined the rhythmic profile of the work. Claire-Marie Le Guay offered a (re)discovery of Saint-Saëns first Mazurka, too rarely performed in Germany. As a true model of French elegance, the artist interpreted Debussy’s preludes with a nice touch of melancholy. »

Klavier-Festival Ruhr, Ruhr Nachrichten, June 2018

“Great art the joyful Mozart would probably have loved!”

Critic “Mozart Alla Turca” concert, festival de Pâques, Wukali, April 2018

​”Claire-Marie Le Guay made the piano sound perfectly comfortable in the temple’s rich acoustics. What a beautiful fullness of timbres, what vigour and finesse of articulation also in the resplendent Italian Concerto! And the music that always advances, even in the intermediate voices, and that breathing ! The pianist moved the audience with her sincerity, inner strength and delicacy.”

​Bach recital, Via Aeterna Festival, La Croix magazine, sept. 23 2017

​​”Claire-Marie Le Guay perfectly dominates technique and form, as convincing in the inflexible rigour of the fugatos as in the effusion of amorous transport.”

Critic Ouest France magazine Oct. 2016

​”Whether she plays in recital, chamber music or concerto, in a traditional “format” or according to an explicitly pedagogical approach, Claire-Marie Le Guay enjoys the dialogue with her audience: “Of course, I don’t know everyone’s history but I perceive the quality of common listening, so palpable and so mysterious at the same time,” she confides.”

​Claire-Marie Le Guay’s radiant maturity, ​La Croix magazine, May 2015

“She is a musician who collaborated with every solo-instrumentist of the orchestra in order to valorize the imagined dialogues of the two composers. A bright instrumental virtuosity and a strong-orchestral left hand, a pianist with a great coloristic refinment having an inner world filled with shades, with lights and shadows, a perfect co-worker for the conductor for a lively interpretation of these opposites.”

Claire Marie Le Guay, “tender angelic appearance” Festival Enescu, Septembre 2014

“A beautiful determination characterizes her technically adept playing, in which often bright sensitive points profile the musical course and leave the measure of mere vitality far behind.”
Mannheimer Morgen (Schwetzinger SWR Festspiele), 07.05.2013

“Precisely because the Camerata refined its G major Piano Concerto with finely mixed chroma, the pianist was able to engage in painterly effects in a completely relaxed manner. That doesn’t mean that she didn’t help the passages, which aim at effective brilliance, to be right. In sum, however, a rave rather of the subtle and the sound-sensual.”

DrehPunktKultur (Mozartwoche Salzburg), 01.02.2013

« Pianist Claire-Marie Le Guay (…) leads a discreet and demanding career… (…) From the outset, her Après une lecture de Dante wins support for its poetic quality and fervour, as well as a bewitching Sonata in so minor whose orchestral refinements never give way to architectural rigour. »

Marie-Aude Roux, Le Monde , avril 2011

« Claire-Marie Le Guay responds, in her new recital, by seeking clarity. The rhythmic foundation is impeccable, the sound and touch masterfully controlled, for an interpretation that goes straight to the point and never releases the tension. »

Bertrand Dermoncourt, l’Express Style avril 2011

“What a sound! What a presence! …… A thick, fleshy piano, giving a restitution among the most impressive that have ever been.”

Philippe Van den Bosch, Classica April 2011

“The Liszt’s concerto No. 2 in A flat, was given a passionate yet clear-eyed reading by Claire-Marie Le Guay.”

New York Times, 11.03.2000

“With a clean and assured playing, Le Guay defies any attempts to category a pianist by gender or nationality. From barenboim, she has learned how to project confidence without ego, artistry without show-boating.”

Chicago Sun-Times, 29.02.2000