Home > Artists > Teo Gheorghiu


The recipient of the BeethovenRing from the Beethovenfest in Bonn in 2010, Teo Gheorghiu’s upcoming plans include Rachmaninov with Musikkollegium Winterthur for the New Year Gala Concerts at the Tonhalle in Zürich, Beethoven with the Royal Philharmonic Orchestra at London’s Royal Albert Hall, as well as with the Orquesta Sinfónica de Bilbao and Orquesta Sinfónica del Principado de Asturias, chamber music in the Meisterzyklus Bern, recital tours of South America and Taiwan and his second disc for Sony (Liszt and Schubert). 

Recent seasons have seen Gheorghiu perform with the Pittsburgh and Tokyo Symphony orchestras,  the Luzerner Sinfonieorchester and Orchestra della Svizzera Italiana. He has also given concerts with Sinfonieorchester Basel, Berner Sinfonieorchester the Philharmonie der Nationen, the State Hermitage Orchestra, the Brandenburgisches Staatsorchester Frankfurt, Zürich Kammerorchester, Orchestre de Chambre de Genèvre, and the Danish National and English chamber orchestras. Teo has appeared at Zurich's Tonhalle, London’s Wigmore Hall and Barbican Centre, the Louvre Paris, the Lucerne, Verbier, Mecklenburg-Vorpommern, Dvořák Prague and Ohrid Festivals and regularly collaborates with the Carmina Quartet.

The short biography displayed on this page is for information only. For concert programmes and promotional materials please use the downloadable versions.


"And now a very young artist joins the established musicians [Carmina Quartet] on stage – can it work? It works wonderfully. In Brahms' Piano Quintet in F minor, Op 34, Teo Gheorghiu proves an equal partner for his fellow chamber musicians. Quite naturally, he takes his rightful place, without ever pushing to the fore." (Der Bund, December 2013)

"The young Teo Gheorghiu at the piano is a strong companion. This is one of the finest chamber music CDs of recent times!" (Der Westen, March 2013)

“Not yet 21, the Swiss-Canadian pianist Teo Gheorghiu brings youthful fire to Dvorák’s sublime Piano Quintet Op.81 with the Carmina Quartet … Gheorghiu and his fellow Swiss players display considerable charm and zest, particularly in the scherzo and finale.” (Stephen Pritchard, The Observer, March 2013)

“[An] altogether exhilarating performance.” (Martin Buzacott, Limelight Magazine, March 2013)

“The 1887 Piano Quintet was Dvořák's second attempt at the form. It's most notable for its incorporation of folk themes, particularly the second movement "Dumka", which furnishes pianist Teo Gheorghiu his greatest opportunity, his delicately expressive approach eschewing grand gestures but ensuring that the haunting melody remains suitably foregrounded.” (The Independent, December 2012)

“Gheorghiu is a cerebral musician who brought out Baroque qualities in the figuration of this work that most pianists minimize in favor of its more outward romanticism. Gheorghiu's shaping of musical elements was carefully controlled over long arcing segments of the score and as one became accustomed to his conception of the piece it became increasingly convincing.” (The Hartford Courant, April 2012)

“He simply had everything: leaps, runs, repititions, dynamic contrasts, lines of expression – nothing was ignored in his thrilling playing. Teo Gheorghiu is a huge talent. And as recipient of the Beethoven-Ring he is a worthy representative of the series that started with names like Gustavo Dudamel, Julia Fischer and Lisa Batiashvili.” (General-Anzeiger Bonn, February 2010)

"His touch on the keyboard is of blinding clarity. His differentiation of acoustic perspectives is astounding. His playing is regular and brilliant.” (Tribune de Geneve, January 2009)

“His playing searches...for the secrets of the opus, and tries to fathom the composers’ notes of formulated passions. His touch is technically perfect and full of colour and expression....his fingers seem to talk as they dance on the keys with fire and power. His virtuosity is far from being superficial, bringing the 16-year-old's own life experiences into the symphonic dialogue....Teo interprets this gracious intermezzo of intimate reminiscences with elegant gestures, lightness and detachment. In the lyrical encores Teo shows yet further proof of his already wonderful maturity”. (Potsdamer Neueste Nachrichten, December 2008)