Laureate of numerous international competitions, notably the second prize-winner at the 2013 Queen Elisabeth International Piano Competition at the age of twenty and the youngest prize-winner of the Bonn International Beethoven Competition, Rémi Geniet is quickly establishing himself as one of the most prominent pianists of his generation. In 2015 he was awarded ﬁrst prize at the prestigious Young Concert Artists International Auditions in New York.
Rémi Geniet performs internationally with orchestras including the St. Petersburg Philharmonic, St. Petersburg State Capella Symphony Orchestra, State Symphony Orchestra Novaya Rossiya, Ural Philharmonic Orchestra, Royal Flemish Philharmonic, Luxembourg Philharmonic, Belgium National Orchestra, Sinfonia Varsovia, Orchestre d’Auvergne, l’Orchestre National d'Île-de-France and l’Orchestre national de Mulhouse under conductors such as Marin Alsop, Emmanuel Krivine, Edo de Waart, Alan Buribayev, Enrique Mazolla, Ernest Martinez-Izquierdo, Robert Trevino, David Niemann, Roberto Forés Veses, Eduard Topchjan, Volodymyr Sirenko, Michael Hofstetter, Stephan Blunier, Adrian Leaper and Pavel Gerstein.
A frequent guest artist in Asia, in spring 2017 he performed Beethoven Concerto no. 5 with the KBS Symphony Orchestra and Okku Kamu in Seoul and just prior to that was in residence with the Hong Kong Sinfonietta playing chamber music and Rachmaninov Concerto no. 2 under Yip Wing-Sie. The previous season saw him with Yoel Levi and the Hiroshima Symphony Orchestra performing Beethoven Concerto no. 3 and Schumann with the Kansai Philharmonic under Augustin Dumay, a regular chamber music partner.
Important 2017-2018 debuts include performing the Mozart Double concerto with Adam Laloum, Jérémie Rhorer and the Orchestre de la Suisse Romande, Tchaikovsky with the Saint Louis Symphony and Christian Arming, Mozart with Kitchener Waterloo Symphony and Mei-Ann Chan, Prokoﬁev with the Barcelona Symphony and Eduardo Portal as well as Liszt in Ekaterinbourg and a debut recital in Romania. He also gives his ﬁrst performances at the Tokyo Bunka Kaikan, in Taiwan at the National Concert Hall and in Kaoshiung, before returning to the Philharmonie de Paris to perform the Ravel Concerto for the left hand and then going on to the U.S. for his second tour there.
Invited to the most important French series and festivals, Rémi appears regularly at the Auditorium du Louvre, Piano aux Jacobins, Piano à Lyon, La Roque d’Anthéron International Piano Festival, Festival de Radio France, Montpellier, La Folle Journée, la Grange de Meslay, Lille Piano(s) Festival etc. and opened both the “L’âme du Piano” series at the historical Salle Gaveau and the “New Generation” series in the inaugural season of the Fondation Louis Vuitton to enormous critical acclaim. During the 2016-2017 season he also performed with the violinist Daniel Lozakovitj at the Salle Molière in Lyon and at the Festival de Pâques in Aix-en-Provence.
Outside France he performs at Carnegie Hall (Zankel Hall), the Munich Gasteig, NDR Hanover, in Vienna, Geneva, Ghent, Brussels, Germany and Poland. Amongst the many prestigious international festivals that invite him are Verbier, Colmar, MecklenburgVorpommern, St Petersburg Arts Square International Winter Festival, La Folle Journée au Japon, Euriade Festival in the Netherlands, the Montreal Bach Festival and the Interlaken Classics Festival in Switzerland. In early 2016 Rémi was invited to participate at Les Sommets Musicaux de Gstaad at the invitation of Renaud Capuçon, winning the “Prix André Hoﬀmann.”
Rémi Geniet studied at the Conservatoire National Supérieur de Musique de Paris with Brigitte Engerer, at the École Normale de Musique Alfred Cortot in the class of Rena Shereshevskaya and has also worked with Evgeni Koroliov in Hochschule für Musik und Theater in Hamburg. He also studied orchestral conducting with George Pehlivanian.
Both his debut all-Bach CD, which received a “Diapason D’OR of the Year” in 2015, and his second release of four Beethoven sonatas, also on the Mirare label, were unanimously praised by the critics.
“Instrumentally intimidating, intellectually astonishing and musically overwhelming. The most humane, beautiful, profound Opus 110 heard for a very long time” Alain Lompech, Diapason