© Irina Polyarnaya
Piano Duo
Geniusas Duo
Anna Geniushene and Lukas Geniušas
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Biography Highlights
Upcoming & Recent
The husband-and-wife duo Lukas Geniušas and Anna Geniushene, who have been performing together for over ten years, have established individual international careers.
Lukas, a laureate of the 2015 Tchaikovsky and the 2010 International Chopin Competitions is celebrated for his “brilliance and maturity” (The Guardian); Anna, the Silver Medal winner at the 2022 Van Cliburn International Piano Competition, is praised for her “powerhouse sound, forceful musical personality, and sheer virtuosity” (Musical America).
Together, they turn each interpretation into an inventive, nuanced, and organic transformative journey, captivating audiences worldwide for over a decade.
Along with the intensive international touring of both artists, their duo’s schedule for the 2024-25 season includes recitals in Munich, Bolzano, the Chopin and His Europe festival in Warsaw, the Bartolomeo Cristofori International Piano Festival in Padova, and Bechstein Hall in London.
Stage Photos
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© Aivaras Ruginis
© Irina Polyarnaya
© Aivaras Ruginis
© Irina Polyarnaya
© Aivaras Ruginis
Saint-Saëns-Debussy - Introduction and rondo capriccioso op. 28 for two pianos
Saint-Saëns-Debussy - Introduction and rondo capriccioso op. 28 for two pianos
Leonid Desyatnikov - Du Cote de chez Swan
Leonid Desyatnikov - Du Cote de chez Swan
Robert Schumann - 6 Studien in kanonischer Form, op. 56
Robert Schumann - 6 Studien in kanonischer Form, op. 56
Reviews & Press
Hallelujah Junction
This debut recording by husband-and-wife piano duo of Lukas Geniušas and Anna Geniushene (runner-up to Yunchan Lim at the 2022 Van Cliburn competition) beats a revealing path through 20th-century Americana. Four works date from the 1930s, including Gershwin’s Cuban Overture and Copland’s El Salón México. Stravinsky’s Dumbarton Oaks was the composer’s first US commission; played in the composer’s two-piano version rather than by chamber orchestra, it seems less an 18th-century homage and more a direct link between the baroque and 20th-century minimalism. A complete contrast comes with Balinese Ceremonial Music by Colin McPhee, who was mining the potential of gamelan music decades before other western composers followed. The playing is finely balanced and unobtrusively imaginative throughout, but it’s the two more recent pieces that are arguably the most interesting. Frederic Rzewski’s Winnsboro Cotton Mill Blues is initially unsettlingly inhuman, weaving the protest song into the noise of factory machines: you can picture the pianists as automatons thumping at the keyboards. Finally, there’s the title work, the name of which John Adams borrowed from a truck stop near the California-Nevada border. Written in 1996, it’s an example of how Adams can make minimalism feel huge and eclectic; the pianists trace its jangling and surging lines brilliantly.
