French pianist of Lebanese origin, pupil in Paris of Magda Tagliaferro, Jacques Coulaud and Jean Micault. Licence de concert (first named) of the teacher training school of music of Paris. Second price of the international contest Viotti-Valsesia (1981). Price of the best vocal-piano team to the international contest Francis Poulenc (with the baritone Jean-François Gardeil, 1985). Prize winner of the Menuhin foundation. Great price of the academy Charles Cros and great price of the nouvelle académie du disque français (1993).

In his many concerts throughout the world (France, England, Italy, Switzerland, Belgium, Spain, Germany, Luxembourg, Czech Republic, Greece, Bulgaria, Ukraine, Sweden, the United States, South Korea, Japan and the Middle East), he particularly defends the romantic repertoire and the French music of the 20th century, attempting to make discover unknown composers and repertoires. He created works of Satie (Nocturne), Sauguet (Ombres sur Venise , dedicated to him), Jaubert, Sacre, etc. He is impassioned of the French melody and works endlessly for a better knowledge and a revival of the genre.

For this reason he founded the Contrechants association (1991-1995, Piano concerts in the Palais Royal, in collaboration with the Bibliothèque Nationale) and the Donneurs de sérénades (1997-1998, melody cycles with the Molière theatre - Maison de la poésie). He also performs with the composer Guy Sacre concert-conferences focused on topics of musical and literary aesthetics, like "the musics of the night", "the music and the elements", or the "masques et bergamasques" gathering Fauré and Debussy with Verlaine and Watteau.

You will find these tastes and these concerns in his discs, about fifteen, of which many premieres: as well piano (Sauguet, Milhaud, Scriabine, Sacre, Satie, Poulenc, Séverac) that melodies (Ravel, Debussy, Poulenc, Auric, Honegger, Chausson, Delage, Sacre, and recently the integral works of Roussel, with Marie Devellereau, Yann Beuron and Laurent Naouri, Choc of the Monde de la musique). All these recordings were warmly greeted by the press, seeing him as a "pianist poet" (Jean Roy). His version of the Histoire de Babar of Poulenc, with Hugues Cuenod, is from now on a reference. Among his last discs, his recording of the Guy Sacre's melodies was rewarded by Répertoire, and his recording devoted to the piano of Séverac received a Diapason d'or. In preparation, two Fauré discs: thirteen Barcarolles, and the third collection of the melodies (with the tenor Yann Beuron).

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