In November 2000 we see her at the Award Ceremony of the "Naša žena" magazine's initiative People with open hands, as First Lady Štefka Kučan confers upon her the title "donator of the year" for her charitable activities on behalf of refugees. Soon afterwards, in March 2002 she appears on the stage of the Celje Folk Theatre, playing 'keyboard one' in the musical Chicago.
And yet, her true identity as a solo performer was continuously being confirmed on the concert stage. It was further confirmed by the mentor of world renown, Peter Feuchtwanger, who wrote after Marina's concert at the Slovene Embassy in London in May 2000: "Slovenia can be proud of such a sublime artist".
For the present time, let us give the word to Borjana Pantelić Skladany and Goran Troha of the "Artel Society", who organized Marina's concert in Rijeka, Croatia in April 2005:

The simplicity of the outward and the spiritual dimension of the inward personality are words, which would describe with the outmost accuracy the impression made by Marina Horak. Already after a few minutes' conversation, we were aware that before us is not a person whom we shall identify by the colour of her eyes or hair, by how tall or how old she is, because all these experiences fade completely allowing room for the enormous power of her spirit, which opens up new spaces for us, both in terms of pianism and pedagogy, as well as life in general. And it is precisely from this great mental energy, which this exceptional artist uses, thereby overcoming the "physical" dimension, that springs forth the suggestiveness of her interpretation and the ease of her performance, making available to listeners of all different levels of musical education a palette of a great variety of identifiable feelings and thus offering them music as the universal essence of life.

And this is how composer Pavle Merku experienced her playing at the concert in Trieste in May 2005:

I got to know Marina and heard her play when she was still a student: she was very promising. I listened to her again at the beginning of her career, when she approached her instrument with seriousness and temperament. And I heard her again, recently, after so many years of "apprenticeship" playing all over Europe: I was amazed by her thorough maturity, a sign that her approach to music was carried by an awareness of difficulties on all levels and by mastering all personal suffering. Her rendering of Debussy's Preludes shook me to the core, and so did Chopin's Barcarolle Op. 60; I have not heard them played like this for a long time: Debussy full of blood, far from that affectation, and Chopin without that exaggerated lyricism, which can too often be heard in public performances in front of an audience that is quite satisfied with such playing. The emotion that Marina transmits in her interpretations is an active force, which has nothing in common with the passive force of sentimentality. Therefore I consider her to be a great artist.