“On Tuesday night…Vicki Ray and the Eclipse Quartet were responsible for a spell binding performane….Ray has had long experience with Feldman. She palyed with a hypnotic intensity, making each note of each arpeggio feel like the discovery of a new star.”
(Mark Swed, LA Times, 2010)

“….Ray’s languid, sumptuous performance made something else apparent…(her) radiant playing served to reveal the significance of Adams’s feminine side…Yet even with all that, the real whirl came from Ray’s fingers, which were on continuous virtuosic dancing display…”
(LA Times Feb. 2009)

“From abstract to earthy, from solemn to giddy, Ray proved articulate and engaging, unflappable in technique or endurance, and completely focused on the sound of the music at hand.”
(John Henken, Special to the Times)

“Messiaen himself described the solo piano part (in Trois Petite Liturgie) as “studding the texture with diamonds” – and it’s hard to top that as a description of pianist Vicki Ray’s performance, so we’ll let it stand”
(LA Times 5/5/09)

“Vicki plans programs with a knack for marvelous freeform artistry; what she draws from her piano always relates in wondrous ways to all the senses.”
(LA Weekly April 2005)

“….Vicki Ray offered what we’ve come to expect of her – new music played with an ideal mix of acuity and passion”
(LA Times, Nov. 2002)

“A pianist with a sparkling tone and a gripping rhythmic sense, Ray makes everything she touches a pleasure to listen to.”
(Mark Swed, LA Times April. 2000)

“Pianist Vicki Ray looks like some pop angel on the cover of her CRI album, but she plays like the devil….”
(21st Century Music, March 2000)

“Let me be blunt. From the left edge is the best record of contemporary piano music I have heard in ages. The best pianist, the best works. Period. The emotion, the passion she puts into her playing give these pieces a human soul, something too often missing from contemporary music. Vicki Ray’s playing is charged with a great evocative power and the listener falls quickly under her spell. Let us wish that this is the first of a long series of recordings for her.”
Francois Couture, Delire Actuel, 12/28/99

“To my ear, however, Vicki Ray, does a far superior rendition of it on the CD under review here. In her hands, Klaviersonate nr. 7 (by Krenek) Ray makes the separate phrases link into a sequence which has a chaconne feeling. If musical phrases have their origin in breathing, Ray’s concept is one which communicates a wonderfully breathed and breathable line of pianistic events.”
(Making Time, Dec. 1997)

“Los Angeles’ Vicki Ray is one of our more intrepid champions of new music, piano division, bringing to the task technical strength expressive moxie and infectious enthusiasm. Add to that a sense of historical overview and you had an inspiriing display of 20th century pianism…”
(LA Times, Jan. 1996)

“Vicki Ray…our noble, prodigiously talented new-music evangelist….”
(LA Weekly Jan. 1997)

“Through it all, Ray showed that kind of musical thoroughness and technical panache that puts a composer’s thought directly before the listener.”
(Daniel Cariaga, LA Times 1995)

“…what American pianist Vicki Ray coaxed out of her electronically amplified piano – pizzicati and overtones, but also Chopin-sweet sounds – was breathtaking….”(Munsterisches Feuilleton 1/22/94

“…the American Vicki Ray (played) with a sensuousness of sound that is so often lacking in pure avantgarde players, with that rhythmic precision that does not belong to the standard equipment of the orchestral player, and with the long breath that only players with total commitment to this music can have.”
(Munsterische Zeitung 1/22/94)