Anna Geniushene

I don’t know how many friends I have in Taiwan, but I hope after this week, there will be more!!
I am so excited to be making my debut with the Kaohsiung Symphony Orchestra this Friday, 25th April at 19:30, at the National Kaohsiung Center for the Arts. we are diving straight into one of the most sparkling, irresistible concertos such as Ravel’s Piano Concerto in G.
And the following afternoon, 26th April, I’ll be sharing stage with soloists of KSO , there will be Shostakovich’s Piano Quintet and Piano Trio No. 2 in E minor in our menu. Two of his most intimate and shattering masterpieces.
What many people don’t know is that I am actually a graduate of the Shostakovich Music School in Moscow. His music was quite literally the first music I ever studied seriously — I think my first experience of the Quintet goes back to around 1996. Unbelievable. In a way, every time I return to Shostakovich, I am returning to the very beginning of everything.
Taiwan, see you very soon!!!

First ever trip with two kids + small US tour: mission (almost) accomplished.

Tomorrow at 7:30 PM I’m diving into the rarely-played Liszt Tristia Trio (after Vallée d’Obermann) and the gloriously bombastic Dohnányi Quintet op.1 with my dear colleagues from

Then — Salt Lake City for a very special performance as part of the 50th anniversary of the Gina Bachauer Piano Competition (won by back in 2010).

So… two parents on stage / two kids backstage.
Who’ll win? 😅

Big News:
I am deeply honored to be appointed Artist-in-Residence with the Atlanta Symphony Orchestra for the 2026–2027 season.

This residency will include three perormances in collaboration with Nathalie Stutzmann, featuring some of the most profound works of the piano repertoire: Brahms’s Concerto No. 2, Schumann’s Piano Concerto, and Rachmaninoff’s Rhapsody on a Theme of Paganini.
I am truly grateful for this invitation and look forward to this inspiring musical journey!

Bonjour Grenoble ! Nous sommes ici pour quelque chose d’important, qui reste encore secret :)

Hello, Scotland! We are here!
(Okay, okay — we will be there tomorrow at Stevenson Hall!)
Haud on tight — Hallelujah is comin’! 😅😅😅

Next week I will be playing Ravel Piano Concerto in G in Des Moines.
This is by far one of my musical identities. At the age of 14 I was finally presented with an MP3 player, and the performance of Ravel’s G major concerto by Arturo Benedetti Michelangeli was one of my favorite tracks. Since then my adoration for Ravel’s genius has stated, as has my admiration for Michelangeli, a pianist who still feels impossibly unattainable.
No, while working and listening to some of the recordings, I started thinking about a question that still buzzes in my mind: why someone like Michelangeli seems impossible in today’s musical world. I ended up writing a small essay on this theme.
He lived in a world that no longer exists — a world where silence, patience, and absolute dedication defined an artist. He could remain silent for years. He canceled concerts if the music (his) wasn’t perfect. He rarely gave interviews, never explained himself, never sought approval. For him a recording was not a product to sell — it was a witness to truth. Time belonged to him, not to schedules, deadlines, social media or sponsors. Perfection was not optional; it was an ethical demand.
Today musicians live in a different reality. The world demands constant visibility. Social media, streaming, marketing, and deadlines shape the rhythm of their lives. Every concert, rehearsal or recording is part of a public narrative. Silence is not tolerated — it is seen as absence. This is my feeling nowadays. Time is compressed; mistakes must be minimized, not for art, but for reputation. Perfection has become a commodity rather than a pursuit.
Michelangeli taught us that music is sacred — that true artistry requires courage: courage to slow down, to demand of oneself more than the world demands, and to exist on one’s own terms. He spoke through music and expected everyone else simply to listen.
In a world of noise, superficial content and speed, Michelangeli’s approach seems impossible. Yet it reminds us that the essence of art is not to be seen or heard everywhere, but to be felt deeply, in every note, in every pause, in every silence.

Today, Carnegie Hall announced their 2026–2027 season, featuring five Cliburn laureates!

2022 Gold Medalist Yunchan Lim will perform four times throughout the season, completing a full cycle of 18 Mozart sonatas.

Seasoned favorites of the Perelman Stage 2013 Silver Medalist Beatrice Rana and 2009 Gold Medalist Nobuyuki Tsujii return for concerto engagements.

And two Cliburn medalists make their Carnegie Hall debuts in March 2027: 2009 Silver Medalist Yeol Eum Son 손열음 performs with the Orchestra of St. Luke's, and 2022 Silver Medalist Anna Geniushene gives a solo performance in Weill Recital Hall.

Congratulations to these amazing pianists!

June 2026 in Taiwan!

#葛努仙涅台灣首次獨奏會
#買一送一
#限時限量100組

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浪漫的起點：葛努仙涅獨奏
Anna Geniushene Piano Recital

2026/6/11 (四) 19:30 國家音樂廳

【演出曲目 】
蕭邦(1810-1849)：《C小調輪旋曲》作品1
F. Chopin : Rondo in C Minor, Op. 1
蕭邦(1810-1849)：《馬厝卡舞曲》作品50
F. Chopin : Mazurkas, Op. 50
蕭邦(1810-1849)：《圓舞曲》作品34
F. Chopin : Waltzes, Op. 34
蕭邦(1810-1849)：《降A大調塔朗泰拉舞曲》作品43
F. Chopin: Tarantelle in A-flat Major, Op.43
蕭邦(1810-1849)：《降B大調華麗變奏曲》作品12
F. Chopin : Variations Brillantes in B-flat Major, Op. 12
布拉姆斯(1833-1897)：《降E小調詼諧曲》作品4
J. Brahms: Scherzo in E-flat Minor, Op.4
布拉姆斯(1833-1897) / 柯爾托改編：〈搖籃曲〉作品49第四號
J. Brahms/A. Cortot: Wiegenlied (Lullaby) Op.49, No.4
布拉姆斯(1833-1897)：《C大調第一號鋼琴奏鳴曲》作品1
J. Brahms: Piano Sonata No. 1 in C Major, Op.1

Knock- knock, tomorrow is the time for beautiful Schumann, Mendelssohn and Beethoven. This triad of composers will be carefully crafted by fantastic Giuseppe Mengoli, Stavanger Symphony Orchestra and your devoted fan. See you tomorrow!

Feeling so grateful for featuring my Album “Opus 1” as one of the Editor’s choice of January 2026 by Grammophone magazine.

Thank you!

www.gramophone.co.uk