“ …Toth held the spectators in his fist with a recital that will be difficult to forget, but revealed his innate qualities as a true showman. His irresistible encore, the Rigoletto Paraphrase of Liszt, was introduced with his own fulminant explanation/listening guide. Theatre within theatre, sagacious humour, and grand music received by thunderous applause.”
- la Voce di Mantova, Italy

“- a brilliant Soloist !...in Mendelssohns First Piano Concerto Toth displayed true technical brilliance and jocundity. “
-Neue Westfälische Zeitung, Germany

“Toths spiel ist meisterlich, schnoerkellos, klar, sensibel, mitreissend. Es lebt. Und Toth lebt darin und dafuer.”
(Toths playing is masterful, clear, sensitive, and seductive. It lives and Toth lives for it and within it.)

-Bad Rehburg, Germany

“...the uninhibited improvised style of moderation in Pianist Marc Pierre Toth’s Concert Series has the potential to achieve a Cult following...The fusion of the performers(Marc Pierre Toth and Solenne Paidassi) held the audience captive...Definitely a performance that one does not hear every day...Full respect. “
- Mindener Tageblatt, Germany

... on the Beethoven Cycle, Recital no.1 :
“With such tangible interest, the classical concert does indeed have a future.”!
- Neue Westfälische Zeitung, Germany

“ Toth managed with his sovereign pianistic skill to give Mendelssohns composition from his youth a true romantic expressivity. “
-Westfälische Volksblatt, Germany

“…Marc Toth is an interpreter full of nuance… immersed in his world of pain, tenderness, joy, violence, and suppleness…”
-L’EST Republicain, France

“ Notably in the second half, dedicated to Beethoven (sonata Op.101) and Liszt (Etude de Paganini no.2 and Rigoletto Paraphrase), Toth’s virtuosity emerged, never in a means to itself, but with absolute mastery of piano playing where his skills showed natural fluidity, exulting expressive force and interpretive sensibility. “
-Acquaviva Giornaliera, Italy

“… in the Goldberg Variations of Bach, the artist succeeded in presenting the strict yet emotional-laden architecture of the piece incredibly transparently, thus driving the enthusiastic public to their feet.”
-Westfälische Allgemeine Zeitung, Germany