Jean-Nicolas Diatkine
comes from a family of recognised doctors and considers commitment to others to be the basis of his profession. It seemed impossible for him to do without this basic attitude in the exercise of his profession, which is why he always sees his artistic development as a return to the essential artistic values to which he has devoted himself over the last thirty years.

At the same time, he makes the in-depth study and deeper understanding of the narrative of each composer an absolute priority and an indispensable step before any public performance of a work.

Jean-Nicolas Diatkine began his music studies at the age of six. As he grew up, two encounters became formative for him: with Ruth Nye, in 1989, professor at the Yehudi Menuhin School and the Royal College of Music, trained by Claudio Arrau; and with Narcis Bonet, in 1994, composer and student of Nadia Boulanger.

Chopin advised his students to listen to the singers; Jean-Nicolas Diatkine takes him at his word and works as a coach at Eva Barthélémy‘s singing school in Paris between 1996 and 2006. In 2000, the mezzo-soprano Alicia Nafé and the tenorZeger Vandersteene became aware of him, the latter accompanying him in numerous concerts in France, Belgium and Spain.

Since 1999, he has regularly performed as a soloist in France and Belgium, notablyin the „Autour du Piano“ concert cycle, at the „Pianissime“ piano festival, at the Opéra Bastille and in Ghent,where the public has described him as „the most outstanding pianistic revelation in ten years“. Since 2011 he has also been performing everyyear at the Salle Gaveau in Paris.

In May 2017 Diatkine will go on his first tour of Japan (Tokyo, Yamanashi).

In his concerts,Jean-Nicolas Diatkine explores a wide range of piano works such as Händel‘s Suites, Shostakovich‘s Preludes, Beethoven‘s „Appassionata“ and Opus 101, Schubert‘s last sonata (D 960), Schumann‘s symphonic etudes or Chopin‘s four ballads. His repertoire also includesrarely performed works byFranzLiszt,such asthe „Réminiscences de Boccanegra“, or Ravel‘s „Gaspard de la Nuit“, which earned him great recognition in Belgium („A symbiosis of lyricism and architecture“, according to the critic Wilfried van Landeghem). His interpretation of Rameau and Debussycould not be surpassed: „A rediscovery of Rameau by Debussy: the imaginaryjourney of a composer in search of his original roots by an immense pianist who remains unjustly unknown to the public“. (Thierry Hilleriteau, Le Figaro)