• CHOC du Monde de la Musique for GRIEG recording (Mirare Harmonia Mundi)

• CHOC du Monde de la Musique for Mendelssohn recording (Mirare Harmoni Mundi)

• GRAMOPHONE recommandation for  Beethoven concertos recording (Mirare Harmonia Mundi)

• 5  DiAPASON Magazine GRIEG recording (Mirare Harmonia Mundi)

• 5  DIAPASON  magazine for Mendelssohn recording (Mirare Harmoni Mundi)

• 5  DIAPASON magazine for  Beethoven concertos recording (Mirare Harmonia Mundi)

• ARTE choice of the month and of the year  (for Mendelssohn recording (Mirare Harmoni Mundi)

• Choice of FRANCE MUSIQUES for Grieg recording (Mirare Harmonia Mundi)

• GERMAN BAYERN 4 stars Grieg recording (Mirare Harmonia Mundi)

• CLASSIC TODAY USA 10/10 GRIEG recording (Mirare Harmonia Mundi)

• Choice of MEZZO TV Channel for Mendelssohn recording (Mirare Harmoni Mundi)


(Road 66/Mirare)

• MUSIKZEN best award for  Beethoven concertos recording (Mirare Harmonia Mundi)

• JAPAN MUSIC ARENA award for Best performance of the year for  Beethoven concertos recording (Mirare Harmonia Mundi)

• USA  FANFARE magazine

recommandation for  Beethoven concertos recording (Mirare Harmonia Mundi)

• CHARLES CROS choice for Mr Chopin  (Edition Didier Jeunesse)

• CHARLES CROS choice for Babar Story from Poulenc (Edition  Didier Jeunesse)

• Choice of Normann LE BRECHT

(Road 66/Mirare)

• WEB INTERNATIONAL recording of the month (Road 66/Mirare)





As an “exceptional” performer (Figaro) blessed with a “winged virtuosity” (Classica), Shani Diluka establishes a bridge between the East and the West. Born in Monaco of Sri Lankan parents, she came to notice at the age of six thanks to a programme set up by Princess Grace of Monaco and was then chosen to take part in a specialised programme at the Académie Prince Rainier III in the Principality. She later entered the CNSMD in Paris, where she won a first prize, with the unanimity of

the jury, after being advised by B. Rigutto, G. Pludermacher, M.-F. Bucquet and J. Chaminé. During this period, her meeting with Leon Fleisher philosophically and definitively marked her career. So it was

that during her post-grade course, she met Maria Joao Pires, Menahem Pressler and Murray Perahia, all three of whom invited her to work with them. Other encounters were to follow in 2005, when she joined the Fondation de Come, presided by Martha Argerich.

As a soloist invited by a large number of orchestras – the Orchestre de Chambre de Paris, the Orchestre Philharmonique de Radio France, the Sinfonia Varsovia, the Orchestre Philharmonique de Monte-Carlo, the Orchestre National Bordeaux Aquitaine, the Royal Court Orchestra of Sweden, the Bremen Philharmonic Orchestra, the Freiburg Symphony Orchestra, the Tonkünstler Orchestra of Vienna, the Kyushu Symphony Orchestra of Japan, etc., she has worked with such great conductors as

Lawrence Foster, Vladimir Fedosseïev, Ludovic Morlot, Eivind Gullberg Jensen or Gábor Takács-Nagy. A guest artist in major venues, Shani Diluka has given recitals at the Concertgebouw in Amsterdam,

the Teatro La Fenice of Venice, the Sala de Sao Paulo, the Arsenal de Metz, the Philharmonia of Bucharest, the Auditorium of Radio France, in Tokyo, where she opened the Folle Journée, or else

closed the Festival de Verbier, at the Théâtre des Champs Elysées (a Jeanine Roze production), the Konzerthaus of Vienna, the Zubin Mehta Foundation, the Mozarteum in Salzburg, the Ravinia Festival

in Chicago, the Schubertiades in Austria, La Folle Journée de Nantes, in Russia and Japan, the Roque d’Anthéron, or La Philharmonie de Paris...

Her career has been enriched by collaborations with such soloists as Natalie Dessay, Karine Deshayes, or Michel Portal, the composers W. Rhim, K. Beffa or B. Montovani whose Cinq pièces pour

Paul Klee she premiered, but also with big names of the cinema including Sophie Marceau, Gérard Depardieu, Hippolyte Girardot or Charles Berling. As a lover of chamber music, Shani has also been a

regular partner of such renowned quartets as Ébène, Ysaÿe, Prazak, Modigliani, or Belcea. Given that transmission is one of her main preoccupations, she has produced several recordbooks

aimed at a young public with the publishers Didier Jeunesse-Hachette, La Dolce Vita or Radio Classique.

Her solo recordings of Beethoven, Mendelssohn, Schubert and Grieg have won a large number of awards (Choc de la Musique, RTL d’Or, Choix d’Arte, de Mezzo, Japan Vogue, 5 Diapasons,

Gramophone, Fanfare USA, Diapason, Musikzen, Arena Award Japan…). Furthermore, she made the official recording for La Folle Journée 2014, with the avant-garde American music, “Road 66”, as well

as the “Symphonie des Oiseaux”, and more recently Beethoven’s complete pieces for cello and piano with Valentin Erben from the Alban Berg Quartet: all of these original projects have come in for

considerable critical success.

In summer 2018, Shani Diluka recorded the Concerto Wq23 by Carl Philipp Emmanuel Bach with the Orchestre de Chambre de Paris, conducted by Ben Glassberg. This album project, using

historical and modern pianos, in collaboration with the Fondation Royaumont, and devoted to the heritage connection between C.P.E. Bach and Mozart will be released in January 2019 by Mirare.

2018 also saw the publication of her first collection of poetry with Editions Art3, which was included in the short list of Académie Française awards.

Among her future projects, Shani is preparing a “Cosmos” programme around the links between Beethoven and Indian music, whose mysticism historically inspired the Viennese composer.

This project will lead, in 2020, to one of the films coproduced by the Philharmonie de Paris for the Beethoven Year, a series that will bring together H. Grimaud, N. Freire, F. Say... She is also pursuing

other commitments, such as a residency with Charles Berling at the Théâtre de l'OEuvre in the autumn of 2020, and the organisation of a series of concerts in season 2019 around reflections

between the arts at David Lynch’s Club Silencio.