indeed a story to be told! i hope you enjoy fanboying at the hall on the concert day tho' xD

Great! Happy for you brother.

Oh. lucky lucky you . She is to amazing for words .

You have just made me emotional. So happy about you. I love Khatia too

i would have begged for tickets on the spot

"Unbearable beauty," to quote Arthur Rubenstein. How much joy and bliss are we capable of experiencing fully?!

International Association of Theatre Critics (Hong Kong) 31.03.2016 ..... One may say that it is important for musicians to have a unique musical style and personality, but is it even acceptable to interpret the pieces like what Buniatishvili did? Buniatishvili is intoxicated by being virtuosic and often forgets what is behind the music. One should have faith in his or her own interpretation, but he or she should also re-think whether he or she is doing justice to the music or not. In addition, technique is much more than playing the notes accurately and rapidly. Technique refers to the total mastery of the keyboard. Yet, at times Buniatishvili’s playing lost control, no matter use of pedal, or tone production. Virtuosity does not necessarily mean speed and volume. In order to become a mature artist with individuality, Buniatishvili has to reflect on her musical approach and attitude towards music making.

Ajari Eniyi m

Hi ! Well, Miss Tits&Ass may have flying fingers but the sound, unlike that of the great pianists of the past, is not big and is not beautiful. THE TELEGRAPH 05.06.2014 By Ivan Hewett Comment Tales abound of the heroic pianists of old, who beat pianos into submission, and broke strings without even raising a forearm. Young Georgian pianist Khatia Buniatishvili clearly wants to join that company. True, I didn’t actually see any keys flying or hear any strings snap. But by the end of the Three Dances from Stravinsky’s Petrouchka, one or two notes had acquired that worrying out-of-tune rasp that shows a piano is wilting under the strain. Buniatishvili’s blistering power went hand-in-hand with an astonishing steely-wristed technique, which was a boon in the Stravinsky, and in the mad dance of Ravel’s La Valse, and in Chopin’s B flat minor Scherzo. Under her hands these pieces took on a crazed, tumultuous quality. At the opposite pole was the spectral calm of Le Gibet, Ravel’s evocation of a corpse swinging from a gallows. I’ve never heard this piece played with such a threadbare sound, and at such a slow pace. In between came three Intermezzi by Brahms, which were so quiet and thin in sound it seemed as if they’d died and returned as ghosts. This was all very striking. But where was the musical sense in it all? When everything is pushed to extremes, all we’re left with is a series of shocks to the nervous system, which very soon wear off. I never thought the beginning of Chopin’s heroic and tragic Scherzo could sound trivial, but Buniatishvili somehow managed it. The piece began fast and then accelerated, skidding to a halt at the first cadence with cartoonish suddenness. Buniatishvili’s problem is that she gets intoxicated by her own virtuosity, and musical judgment goes out of the window. This isn’t to say an effect of intoxication isn’t appropriate at times. In fact in Ravel’s La Valse a sense of encroaching delirium is the essence of the piece. But we have to feel delirium pushing against a firm underlying waltz tempo, and in Buniatishvili’s performance that dance pulse barely registered. It was crazed from the start. All this exaggeration was sorely disappointing, because here and there moments of real sensitivity emerged. The delicacy of the very first piece, Ravel’s Ondine, promised something special. In Brahms’s deeply nostalgic B flat minor Intermezzo her sound took on a lovely entangled, cobwebby quality, clear and hazy all at once. But to really savour these little nuances one needs a basic trust in the performer. That, I’d long since lost.

+Georges Cancan - Thank you for sharing your unsolicited opinions. I'm sure you are a very talented and gifted musician in your own right. Shame about your personality though...

this video pleases your ears, eyes and penis ??? Women have been fighting for years to be recognized for their abilities rather than their sex appeal. Along comes Khatia Buniatishvili & Yuja Wang and in one fell swoop turns all that effort to ash and debris. You think your prurient fascination in a woman playing a piano qualifies you as a cognoscente of the arts?!

Dick Moores In all long videos I watch, I hope there is a guy like you

Keyser Sose The deeper the neckline of the pianist, the better the sound of Chopin..!

+Keyser Sose haha me too ! always I hope that ^^

+Dick Moores thank you!

Georges Cancan and Mario DiSarli (idem Alexandra)! Have your life, feel, enjoy, give, live and love instead of hating.

Great comment,Mr. Michael Paul Smihth! Thank You !

She is a great performer indeed, and yet a good fashionista :) I like it and I approve that women, classical players, shouldn't stay attached to an old stigma that should wear boring clothes!

Mario DiSarli But those of us who admire this performance were not at the Wigmore Hall and that concert plays no part in this discussion. I have said that I enjoyed THIS performance very much. I have also left very positive comments on her performance of the Tchaikovsky First Concerto, which is splendid, fresh and genuinely innovative. We are the critics here, Mario. And I hope we're allowed to say what we think...

International Association of Theatre Critics (Hong Kong) 31.03.2016 ..... One may say that it is important for musicians to have a unique musical style and personality, but is it even acceptable to interpret the pieces like what Buniatishvili did? Buniatishvili is intoxicated by being virtuosic and often forgets what is behind the music. One should have faith in his or her own interpretation, but he or she should also re-think whether he or she is doing justice to the music or not. In addition, technique is much more than playing the notes accurately and rapidly. Technique refers to the total mastery of the keyboard. Yet, at times Buniatishvili’s playing lost control, no matter use of pedal, or tone production. Virtuosity does not necessarily mean speed and volume. In order to become a mature artist with individuality, Buniatishvili has to reflect on her musical approach and attitude towards music making.

But they were reviewing that concert. I was offering my opinion (subjective, of course) on this one. In the version on KZfaq of Tchaikovsky's 1st concerto, I also offered a rave review because she seemed to play down the virtuosic side and made it much more gentle and thoughtful. (I can see that performance just to the right of the page as I write this.) I don't think it's helpful to offer a comment on a concert which we can't listen to. I enjoy her playing immensely and I'm entitled to express my view, based on what I see before me.

She’s playing too fast, his Liszt and Ravel are horrible

wear

Just Wonderful, deepening my own perception of piano music, Thank youThank you Khatia!

philip sutcliffe You are really insane .

omg yes wtf... when she played those few notes...... really really..... i felt something absolutely different. idk why but somehow being extremely attractive and dressing that way does take away some of that reverence. And it would be the same if this person was a very well muscled and attractive man. It somehow doesnt gel well. And yet here is an extremely attractive woman dressed in the most modern way playing with such impeccable sensitivity. I can only wonder and ponder why i feel this way. Beauty is truly a strange thing when mixed with talent.

Thank you for Sharing your talent with us cause I want to continue my piano lessons You’re gifted as a great pianist from. God You’re one of the best pianist

Well, Miss Tits&Ass may have flying fingers but the sound, unlike that of the great pianists of the past, is not big and is not beautiful.

HI Sexy&Dan54! Well, Miss Tits&Ass may have flying fingers but the sound, unlike that of the great pianists of the past, is not big and is not beautiful. THE TELEGRAPH 05.06.2014 By Ivan Hewett Comment Tales abound of the heroic pianists of old, who beat pianos into submission, and broke strings without even raising a forearm. Young Georgian pianist Khatia Buniatishvili clearly wants to join that company. True, I didn’t actually see any keys flying or hear any strings snap. But by the end of the Three Dances from Stravinsky’s Petrouchka, one or two notes had acquired that worrying out-of-tune rasp that shows a piano is wilting under the strain. Buniatishvili’s blistering power went hand-in-hand with an astonishing steely-wristed technique, which was a boon in the Stravinsky, and in the mad dance of Ravel’s La Valse, and in Chopin’s B flat minor Scherzo. Under her hands these pieces took on a crazed, tumultuous quality. At the opposite pole was the spectral calm of Le Gibet, Ravel’s evocation of a corpse swinging from a gallows. I’ve never heard this piece played with such a threadbare sound, and at such a slow pace. In between came three Intermezzi by Brahms, which were so quiet and thin in sound it seemed as if they’d died and returned as ghosts. This was all very striking. But where was the musical sense in it all? When everything is pushed to extremes, all we’re left with is a series of shocks to the nervous system, which very soon wear off. I never thought the beginning of Chopin’s heroic and tragic Scherzo could sound trivial, but Buniatishvili somehow managed it. The piece began fast and then accelerated, skidding to a halt at the first cadence with cartoonish suddenness. Buniatishvili’s problem is that she gets intoxicated by her own virtuosity, and musical judgment goes out of the window. This isn’t to say an effect of intoxication isn’t appropriate at times. In fact in Ravel’s La Valse a sense of encroaching delirium is the essence of the piece. But we have to feel delirium pushing against a firm underlying waltz tempo, and in Buniatishvili’s performance that dance pulse barely registered. It was crazed from the start. All this exaggeration was sorely disappointing, because here and there moments of real sensitivity emerged. The delicacy of the very first piece, Ravel’s Ondine, promised something special. In Brahms’s deeply nostalgic B flat minor Intermezzo her sound took on a lovely entangled, cobwebby quality, clear and hazy all at once. But to really savour these little nuances one needs a basic trust in the performer. That, I’d long since lost.

Sexy, sexy ... 54 Sexy! Sexy, sexy Sir! (nicknamed ‘crumpet with a piano’, her promos more often suggest ‘a strumpet with a piano’ instead)!

Fluent ASAP Te cieromsho mama

Hi Eva Maria....! THE FINANCIAL TIMES Ltd 2014 06.06.2014 < Khatia Buniatishvili, Queen Elizabeth Hall, London - review > "...No matter how fast she plays, no matter what the character of the music, everything comes across the same way - the pianistic equivalent of a society wedding photograph, with edges blurred and defining human characteristics removed. ... Buniatishvili is neither careless nor ungifted. She is simply overhyped, immature and preoccupied with beauty of presentation - a poor example to the legions of young pianists who aspire to her fame and fortune. At no point did this recital reveal a shred of the musical temperament we expect of a scion of Georgian musical tradition." ...

+Robert Bohrer Hi, Robert! Khatia Buniatishvili ====> "McDonad`s - Kultur"!!! "McDonald`s - culture" !!!

It's absolutely perfect

***** Or variety, and a lot of people hates me for saying this, but having every single performer play all pieces the same, always entirely faithful to the score is just boring. I think every performer should take the risk of trying to match their own voices with the voice of the composer; some may fail, some may succeed, but having everyone paying eternal and absolute faithfulness to a score written a couple of hundred years ago is another way of perpetuating its burial instead of giving it a second, third, or thousandth life, whoch to me is way more interesting, specially since we can listen to them all. But yes, it's all a matter of taste. Personally I believe that this being a little bit slower builds a more dreamlike atmosphere, which according to the poem and the theme of the piece seems not so unfit.

***** I don't think she changed the piece at all, to me it's quite evident she's playing Claire de Lune. Besides, I never mentioned rithm, harmony or melody, as she didn't change any of those. She played in perfect 9/8 time signature, she played the exact melodies and the exact harmonies in the exact Bb minor key signature with the exact accidentals Debussy wrote, she's just feeling it a little bit slower at times, I wouldn't consider intuitive augmentation (given that she doesn't play it slower the whole time) a way of disrespect, a wrong call or a drastic change in the piece. Maybe I find that excessive scrutiny prevents us from enjoying music's possible flexibility. Besides, even though great composers write, as you said, the right specifics, great composers also know that performers will bring new insights into the music, many times confessing joyfully that given performer overcame what they had imagined. But you don't have to like it or anything, it's really just a matter of taste and how flexible we are. There is room for both Karajans and Stokowskys in the world and they are both great for each kind of personality. Greetings.

***** Your'e supposed to write a variation where the only difference is spontaneous augmentation? And again, I don't know who you listened, but this is not a slower tempo in the whole, she just sustains it in certain bits, and at least to me this is not enough reason to write a variation, because feeling the piece yourself is just what performers do, at least good performers, unlike those robots who play, like I said, the exact same thing over and over and over again. Take it or leave it, there are enough Lang Langs in the world if you're into that robotic philosophy on "just" performance. And I didn't say composers know performers will take "liberties", I'm saying you can't write down every single aspect of performance in paper because there's no possible language to do that; you just can't imply everything that happens when performing with FFF or PPP or > or < and even if you write down in words exactly what you want, you know there's still a universe of possibilities. Vladimir Horowitz himself played his Carmen Variations differently every single time under the parameters of his score, as he did with a lot of other pieces which were not his. What I ment is that composers know all this. And last but not least: No; spontaneous augmentation while performing could be improvisation at best, but never the same as changing a melody or harmony, because that would be variation, and I'm sure you do recognize this is not a Claire de Lune variation, as you would recognize just the opposite if melody and harmony were any different. But let's imagine it was a variation ... Just calling it a variation makes it right? Following your logic, wouldn't it be just as disrespectful, if not much more to compose a variation? I think you should relax and take all this a little less seriously. Composers are human beings like everyone else, and just as their talent is to create, the talent of the perfomer is to bring it to life, which involves going, not against but beyond what's written down. It's ok if you like faster performances, but I don't think you have a solid citeria on performance.

+Witol

and quite nice also...

German. And she also speaks Steinway and Glamour!

This is impossible !!!! 🙏

i don't think so

She’s the one whose interpretations I find the most beautiful and emotional.

​@@maximusaugustus6823 seems like very little thinking was done on your part

One of the best, but no one beats Yuja Wang...

+shnimmuc yeah I think it's the finest piece in her repertoire. Surprised it's not played more often

Know and love it from Kempff's recording, but this is also beautiful....she varies the pace and uses rubato to great effect. Her pianissimo is marvellous.

Vito Cortesi erappassionatach

+Ralph Berney "She (Khatia Buniatishvili) is Amsterdam red light district , mediocre classical pianist, she and Yuga Wang, i think they try to compensate for their lack of talent, i think they are both overrated and need a book on etiquette badly. I am not a prude but these chicks look like they carry a supply of penicillin with them, they can't be taken seriously, neither is pretty, so i assume the dressing is used to distract the people from their looks, and Khatia with all the phony hair flipping which is so unauthentic. I am not being mean just real, we all like pretty things and they could be sexy without looking classically hookerish, someone should tell them, but i think they have been told and don't care, they look like rough broads." martha jane

+Georges Cancan I believe you detest Glenn Gould too

+R Salvatierra "Ex auribus cognoscitur asinus!" (latin) - "An ass is known by its ears!"

+Georges Cancan La bouche parle des abondances du coeur...Pauvre Georges, malheureux crétin...

BERLIN 23.05.2016 Der Tagesspiegel Khatia Buniatishvili im Konzerthaus Die Diva lässt sich bitten: Erst als der Saal ungeduldig applaudiert, erscheint Khatia Buniatishvili auf dem Podium. Eine Erscheinung, wahrlich: Wie eine georgische Cleopatra am Klavier begleitet sie die Tournee der Amsterdam Sinfonietta, einem reinen Streichorchester, das sich auf seiner jüngsten CD böhmischem Repertoire widmet. Das schwarzes Kleid, das Buniatishvili im Konzerthaus angelegt hat, vereint zwei Extreme: vorne hochgeschlossen, aber mit breiten Seitenschlitzen, überzogen nur von hauchdünner Spitze, die mehr enthüllt als verdeckt. Vom Parkett aus gesehen sitzt Buniathisvili praktisch nackt am Flügel. Das macht was her, aber ihre Sichtweise auf Chopins f-Moll-Klavierkonzert (in einer Fassung für Streichorchester) ist weit weniger spektakulär: nämlich ziemlich inwendig und verschlossen. Klar: Chopin war kein lisztscher Tastenlöwe, übertriebene Expressivität würde zu ihm überhaupt nicht passen. Lustlosigkeit, verhuscht dahinplätschernde Forte-Passagen und Routine allerdings auch nicht. Was immer Buniathisvili in dieser Musik entdeckt haben mag - teilen will sie es offenbar nicht. Überraschend dagegen die Niedärländer, die markante Akzente setzen, ...

Hola parami.(Contitulo de piano enaleman en Zuerich)Katiano es solo unagran pianista .ella ES En si Música...increíble Gracias Katia por existir...firma:A.L.Bennitez- Cyphelly

Fantástica.

Along with so many "tops" with this wonderful 😍 artist, someone finally mentions her hair!! Arturo Benedeti, Gillels, et al, and yes, Das Richter! Eat your heart out 😊🙌

​@@analuisabenitez83364

​@@analuisabenitez83364

"This woman has the balls"? Now how did you ever find this out?

+Shooshie128 I am in complete agreement with you Shooshie. Khatia is a wonder pianist, beautiful, expressive and I could watch and listen to her play for hours. She makes love with the music to the piano.

+Shooshie128 "Moulin Rouge" !!!

kzfaq.info/get/bejne/sJ-ei6-Q08nSfas.html That's how her name is pronounced!

Georges Cancan hey schlep, if it's Moulin Rouge, I'll take it all day long.

Congratulations! I hope you continue to pursue your passion for music and find success in the future.

It's as though all of her thought and body and being is given to her interpretation of the music.

I also listen to her every day. 3 weeks ago I was sat 10 feet away from her playing a recital in London. I was in awe for 90 minutes. And also, close up you can see just how staggeringly beautiful she is. I will never forget that evening!

quel agressivité je la trouve élégante dans sa tenue et élégante dans sa façon d'interpréter,............... Je cesserai avec vous cette discussion vous êtes une personne à l'esprit mal tourné ............... J'AIME TROP LA MUSIQUE POUR M'ARRETER 0 VOTRE INSULTE !!!!!!!!!!!!!!!!!!!!

Marie Laurence Gonzalez

Marie Laurence Gonzale

Marie Laurence Gonzalez

Je suis d'accord, "Magique!" est le mot qui me vient en tête quand je la regarde... Quel Bonheur!. Merci Khatia. Merci KZfaq.

Are you a pianist?

I am indeed a pianist. Do to some unfortunate life experiences I did not have access to a piano for 6 years and so all the years of practice for countless hours of hard work began to fade away. Now the six have turned into more than twenty. The fingers are not what they once were and the flame is now an ember. I now use my talent and gift to teach.

Awww.... where there is an ember, there is still the potential for fire!

Awwww....! THE DALLAS MORNING NEWS 08.04.2014 Scott Cantrell Classical Music Critic scantrell@dallasnews.com If our end-of-year lists included not only the 10 best performances but also the 10 worst, the recital presented Tuesday night by pianist Khatia Buniatishvili might be hard to dethrone from the latter list’s first place. Opening a new three-recital series sponsored by the AT&T Performing Arts Center, the 26-year-old Georgian offered a hefty program at the Winspear Opera House, and considerable, if not flawless, virtuosity. We were told of her greatness in onstage warmups by both ATTPAC president and CEO Doug Curtis and WRR announcer Barry Samsula, both of whom also promoted other upcoming performances. An endorsement by the formidable Martha Argerich was quoted. But Buniatishvili, who performed in a glittery, bright-red dress, was all about self-indulgence. Sometimes grotesquely distorted, this was music reflected in the aural equivalent of funhouse mirrors. One could only guess that the standing ovations, whoops and bravas came from people not well acquainted with the pieces. It’s embarrassing that Dallas lacks a major concert series presenting touring artists. Even Fort Worth has its Cliburn Concerts. ATTPAC apparently wants to address the void, but it manages only the Winspear, the Wyly Theatre and the outdoor Annette Strauss Square, none acoustically ideal for classical concerts, as opposed to opera. This time, the 2,200-seat Winspear looked barely 1/4 full. Backed by a heavy curtain and an empty stage, the piano might as well have been out in a field. The sound lacked immediacy, bass and treble overtones. Buniatishvili’s program comprised sonatas by Liszt (B minor) and Chopin (No. 2 in B-flat minor), Ravel’s La valse and Stravinsky’s Three Movements from Petrushka. Opening the program, the Liszt pretty much set the template for all that followed. Faster music was often rushed into formless blurs. Slower music was often stretched all out of shape, like taffy. Some bangings yielded ugly sounds. Everything happened in the moment, with no sense of how anything fit together. This was fatal to the Liszt sonata, which can seem a vast sprawl but which actually is constructed with considerable sophistication. I’ve never heard its faster passages -the fugue, for instance - played so fast, with so little feeling for shape and purpose. Buniatishvili accomplished the considerable feat of making the Ravel sound ugly. Maybe she was having an off night. Maybe she was frustrated by the less-than-ideal acoustics. Maybe that’s why she didn’t wait for the audience to settle down before launching into pieces, and didn’t volunteer an encore. Or maybe this is just how she plays. I shall not be keen to hear her again.

That Claire de Lune is incredible

Yes Agreed Claire de lune . Oh Yes gorgeous!!

An Audi 8:13

A reply for ones mind

DEAR KHATIA...WHERE ARE YOU FROM? FROM ANOTHER PLANET ? MY NAME IS PEPE CROW...I LIVE IN HOLLYWOOD. CALIFORNIA.USA..ARE YOU PLANNING TO HAVE A CONCERT IN U.S.A. IWANT TO SPONSOR A HOLLYWOOD STAR FOR YOU AT THE "HOLLYWOOD WALK OF FAME...PEPE CROW...

She's Argerich taken to a way lower level, you perfectly got that (if anything else)....

Art by Atlas მშვენიერი

Art by Atlas. Magnifica, divina

respect for this silly girl??? Surely not acceptable to muck about with Schumann's, Chopin's, Tchaikovsky's, ... music in this way! >Khatia Buniatishvili, "Kamasutra" music

Georges Cancan are you jalous ?

Hi Yitzhak! ALEXANDER BOOT Author, critic, polemicist Blogs

Non cuivis homini contingit adire Corinthum!

Qué lástima me da tu caso. Pobre de ti Fritz.

Georges Cancan Eres Fritz o Mario? No me molestes con tu intento de desviarte de la belleza de mujer y la excelente intérprete, ella es de lo mejor del siglo XXI!!!

+Desiderio Reyso "She (KB) is Amsterdam red light district , mediocre classical pianist, she and Yuga Wang, i think they try to compensate for their lack of talent, i think they are both overrated and need a book on etiquette badly. I am not a prude but these chicks look like they carry a supply of penicillin with them, they can't be taken seriously, neither is pretty, so i assume the dressing is used to distract the people from their looks, and Khatia with all the phony hair flipping which is so unauthentic. I am not being mean just real, we all like pretty things and they could be sexy without looking classically hookerish, someone should tell them, but i think they have been told and don't care, they look like rough broads." martha jane

+Desiderio Reyso KB?! Sexy, sexy, Sir! icknamed ‘crumpet with a piano’!!! THE GUARDIAN James Rhodes Tuesday 4 February 2014 ... "Good looks have long helped to compensate for a lack of talent across the entire music industry. But the sexualised marketing of young women, particularly, in classical music has also now become normalised. Witness (the undoubtedly hugely talented) Yuja Wang's barefoot performances complete with interval dress changes, see the hundreds of PR shots of the kind that keep teenage boys locked in their bedrooms for everyone from Hélène Grimaud to Alison Balsom. Some album cover portraits for female artists could double as escort agency profile pics. Publicity for young male artists is increasingly sexualised too, but not to anything like the same degree."...

I didnt know you classical fan were horny too.

we all rely on the same language-loneliness

'Bouleversant' - en effet...Ca me coupe le souffle, me rends les larmes, m'explose le coeur - que cette femme existe est miraculeux - pourquoi chercher allieurs le spirituel!

感動了謝謝

+Robert Huber Bavo,Robert! Please read once more! "... Speaking of flair, Buniatishvili emerged from the wings in a shiny silver dress, which said “Vegas.” The woman behind me remarked to the man she was with, “You don’t need to hear the music”-in other words, looking was enough. ... But, again, she was extreme. She slapped at the keyboard vulgarly. At one point, she stood up, the better to pound the keyboard. Her playing hurt my ears, ... And she seemed to play heedless of the public, heedless of pianistic norms, heedless of anything. I thought, “She’s in her own private Idaho.” ... Afterward, audience members went to the front of the hall, to take her picture. She beamed. She will obviously be a “star,” and is probably one already: the dress, the lionessness, the loudness. I imagine she’ll be known as “Khatia,” with the “Buniatishvili” on the sidelines."... THE NEW CRITERION by Jay Nordlinger, New York City " If our end-of-year lists included not only the 10 best performances but also the 10 worst, the recital presented Tuesday night by pianist Khatia Buniatishvili might be hard to dethrone from the latter list’s first place. ... "But Buniatishvili, who performed in a glittery, bright-red dress, was all about self-indulgence. Sometimes grotesquely distorted, this was music reflected in the aural equivalent of funhouse mirrors. One could only guess that the standing ovations, whoops and bravas came from people not well acquainted with the pieces." ..." Or maybe this is just how she plays. I shall not be keen to hear her again. ..." ... THE DALLAS MORNING NEWS Scott Cantell ..."No matter how fast she plays, no matter what the character of the music, everything comes across the same way - the pianistic equivalent of a society wedding photograph, with edges blurred and defining human characteristics removed. ... Buniatishvili is neither careless nor ungifted. She is simply overhyped, immature and preoccupied with beauty of presentation - a poor example to the legions of young pianists who aspire to her fame and fortune. At no point did this recital reveal a shred of the musical temperament we expect of a scion of Georgian musical tradition." ... THE FINANCIAL TIMES Ltd 2014 06.06.2014 THE GUARDIAN classical music Wigmore Hall, London Andrew Clements Thursday 2 April 2015 12.28 BST ...The good news is that the piano survived it all intact; the bad is that on the question of whether Buniatishvili can ever be a serious artist, the jury is very much still out.

Il faut absolument mettre enfin un carcan à ce Georges CARCAN et l'enfermer dans un institut spécialisé pous soigner son visqueux délire !

"Before you speak, Let your words pass through three gates: Is it true? Is it necessary? Is it kind? " You and the writers in the newspaper clips you download show very strong signs of very envious individuals. Like to see you perform at Kathia's level!

+Светлана Крымская Babushka Svetlana! Please read once more! "... Speaking of flair, Buniatishvili emerged from the wings in a shiny silver dress, which said “Vegas.” The woman behind me remarked to the man she was with, “You don’t need to hear the music”-in other words, looking was enough. ... But, again, she was extreme. She slapped at the keyboard vulgarly. At one point, she stood up, the better to pound the keyboard. Her playing hurt my ears, ... And she seemed to play heedless of the public, heedless of pianistic norms, heedless of anything. I thought, “She’s in her own private Idaho.” ... Afterward, audience members went to the front of the hall, to take her picture. She beamed. She will obviously be a “star,” and is probably one already: the dress, the lionessness, the loudness. I imagine she’ll be known as “Khatia,” with the “Buniatishvili” on the sidelines."... THE NEW CRITERION by Jay Nordlinger, New York City " If our end-of-year lists included not only the 10 best performances but also the 10 worst, the recital presented Tuesday night by pianist Khatia Buniatishvili might be hard to dethrone from the latter list’s first place. ... "But Buniatishvili, who performed in a glittery, bright-red dress, was all about self-indulgence. Sometimes grotesquely distorted, this was music reflected in the aural equivalent of funhouse mirrors. One could only guess that the standing ovations, whoops and bravas came from people not well acquainted with the pieces." ..." Or maybe this is just how she plays. I shall not be keen to hear her again. ..." ... THE DALLAS MORNING NEWS Scott Cantell ..."No matter how fast she plays, no matter what the character of the music, everything comes across the same way - the pianistic equivalent of a society wedding photograph, with edges blurred and defining human characteristics removed. ... Buniatishvili is neither careless nor ungifted. She is simply overhyped, immature and preoccupied with beauty of presentation - a poor example to the legions of young pianists who aspire to her fame and fortune. At no point did this recital reveal a shred of the musical temperament we expect of a scion of Georgian musical tradition." ... THE FINANCIAL TIMES Ltd 2014 06.06.2014 THE GUARDIAN classical music Wigmore Hall, London Andrew Clements Thursday 2 April 2015 12.28 BST ...The good news is that the piano survived it all intact; the bad is that on the question of whether Buniatishvili can ever be a serious artist, the jury is very much still out.

+Светлана Крымская Very well said!

J'aime beaucoup katia de la part de