Anna Geniushene

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!