Charlotte Reinhardt is a pianist, singer, composer, and producer who shares her life between France and the spanish mountains of Cantabria.

Her gypsy mother, her english father, and her studies at the National Conservatory of Paris and her jazz career have allowed the emergence of a rich and explosive musical world.

Charlotte Reinhardt has been swaying between jazz and classical music ever since early childhood. She entered the conservatory at the age of 13 and attended classical piano and chamber music classes. 

After the National Superior Conservatory of Paris, Charlotte Reinhardt simultaneously pursues a career as a solo classical performer and accompanist in a wide variety of styles (opera , pop music, theater).

Nourished by this eclecticism, she focused on the writing and composition of her own songs . Coming to the attention of acclaimed American pianist Jim Beard, her career advanced through performances throughout Europe (France, Iceland, Spain, England) and North America (New York, Toronto) and since 2010, she has pursued a career in several capacities, working regularly at the Opéra national de Paris with Roberto Alagna, Placido Domingo, Sonya Yoncheva, Jonas Kauffman among others.

She also composed several movie scores for french director Charlotte Dauphin, (2019 Cannes selection and 2020 Taormina festival award), for other French director Laurent Maria, and for television, as well as for live shows (3rd floor dance company of Paris Opera dancers).


After a noticed album of songs, Charlotte Reinhardt is now refocusing on a research of musical purity, concerned with a personal aesthetic mixing her classical music bases with modern sounds and ingredients.

The Colors are the result of improvisations around the piano conceived as intimate journeys, poems, introspections, contemplations, music for imaginary films. She writes and arranges all the music and to carry out her project, she brings on talented jazz musicians.


In 2021, her theme music for film scores has been selected for the Cesars awards.

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