LE SOLEIL, Josiane Deslosges, 09.11.16
François Frédéric Guy played from memory with steady hand, with his head often turned towards the orchestra. He seemed to feel every detail of the music with all his being, threading together the febrile, brilliant notes.

Resmusica.com, Jean-Luc Clairet, 24.08.16
The critics will be silenced by these performances of opus numbers 1, 2, 3, 5, 6 and 10. The sound of Tedi Papavrami (violin) and Xavier Philips’ (cello) instruments were perfectly interwoven with the strong yet serene sound of François Frédéric Guy’s Steinway and the pianist’s own unswerving goodwill. This was an illuminating reincarnation of Beethoven himself, with clearly intelligible lines and accurate phrasing.

Crescendo Magazine, Patrice Lieberman, 23.02.16 (Bruxelles, Flagey, les 20 et 21 février 2016)
François Frédéric Guy showed the scale of his talent in an expected programme played with impressive intelligence and a fierce conviction. (…). In Liszt’s Funérailles Guy’s playing was powerful with a beautiful and full sound and, above all, a remarkably well thought-through interpretation.

Le Soir, Martin Serge, 17.02.2016
François Frédéric Guy made an impression with the force and seriousness of his approach to the great masterworks, and the way he emphasized their architectural greatness.
DIAPASON, december 2015, Martine D. Mergeay,
Continuing his Beethoven journey François-Frédéric Guy finds a wonderful companion in Xavier Phillips, with whom he has already performed the composer’s trios. The pianist and cellist share the same clarity of musical language, the same elegance, and same vibrancy: a reference recording of the five sonatas and variations.

RESMUSICA, 05/09/2015, Jean-Luc Clairet
The whole evening is architected by a pianist who gets the balance between authority and reflection just right. Seated with his back to the audience in front of a Steinway with the lid removed, as happy as a child facing the prospect of a toy, a kindly demiurge, François-Frédéric Guy expertly navigates between the piano and conducting the orchestra. Guy from the back, Beethoven from the front, certainly! (…) His indefatigability and almost intimate knowledge of the composer’s intentions, transform what could simply be a performance into an extraordinary inner journey into Beethoven’s thoughts.

LE MONDE, 31/08/2015, Pierre Gervasoni
Very fast, sitting at the piano, he gives the impression of being at one with the ensemble which accompanies him on a journey that was masterfully handled, from serene exploration to festive conquest. The audience rejoices. (…) In this highly modern realm, François-Frédéric Guy is marvellous and ideally serves a music that always goes beyond the horizon that was set.

BACHTRACK.COM, 02/06/2015, David Pinedo, about Liszt's 2nd Piano Concerto with Netherlands Philharmonic Orchestra under Marc Albrecht
Before the intermission, François-Frédéric Guy romanced the listeners in an epic performance of Liszt’s Piano Concerto no. 2 in A major, demonstrating his virtuosity and musical sensitivity to an exhilarated audience. (…) Sheer joy in the looks between the pianist and the conductor [Marc Albrecht] created a contagious energy for the audience. Guy impressed greatly as he sped through Liszt’s fast-paced passages without losing any of his commanding composure. (…) Rarely have I witnessed an audience react so explosively.

LES AFFICHES D'ALSACE ET DE LORRAINE, 20/02/2015, Suzanne Pierron, about Beethoven’s Piano Concerto No. 1 with Orchestre Philharmonique du Luxembourg under M. Nesterowicz
And the pianist took to the stage, playing elegant, light and nimble arabesques, whilst developing the two themes which were presented by the orchestra with delicate, sophisticated and vivid nuances. The soloist’s long cadenza, which had great harmonic and artistic richness, filled the audience with wonder. The Largo, led by the piano and responded to by the orchestra with great serenity, sounded like a tender Lied during which the pianist was able to express his sensitivity in all its refinement.

DER NEUE MERKER, 06/12/2013, John H. Mueller
The excellent piano virtuoso François-Frédéric Guy took to the stage to play Camille Saint-Saëns’ 5th piano concerto (…). In his brilliant performance, he knew how to emphasize the almost salon-like virtuosity of the concerto together with conductor Philippe Jordan, bursting with energy. Guy always remained within the boundaries of good taste though, despite the splendor and technical acrobatics.

DIAPASON, March 2013, Etienne Moreau, about the recording of Beethoven Sonatas for Zig-Zag Territoires
But the highlight of this CD box-set is the trilogy of final sonatas, which he performs with astonishing assurance. Rigorous thought, precise ideas, a sense of buildup, mastering the richness of sound and the melody – he often approaches perfection. The arietta and variations of the opus 111 – the purpose of the journey being both the end of the world and beginning of the universe – can be noted for their remarkable achievement. At this point, one realises that Francois-Frédéric Guy’s work, patience and love for Beethoven have resulted in one of the most convincing recordings of the last years.

WASHINGTON POST, 24/11/2009, Anne Midgette
Rather than bringing the music back to earth, as some players do, Guy let the last bars remain otherworldly, until the sonata evanesced like a soap bubble: a gentle pop, and the whole shining surface was gone.