Khatia Buniatishvili - Prokofiev – Piano Sonata N. 7 Op 83

Al Verbier Festival 2011

[GeorgeJazzVideos]

Stunning!! The same reasons her detractors cite as criticisms are the exact things that make her amazing to me. She performs and interprets pieces her own way.

Oh my....how outrageous!!!

I have been playing jazz for most of my life and its amusing to me to hear those critics of classic performers cite interpretation (different from what they deem appropriate) as a negative. In the jazz world that very thing is one of its greatest assets. Your own voice. I know many will disregard my comment. So be it. I would just say to wander over to our world to see some people push the boundaries.

Consider living your life according to how other think you should....down to the smallest details.

Not a life I would want to live.

Cheers all!! Music! The Wonderful Gift all these artists are gracious enough to share with us! Bless them all for bringing that light into our lives....and our soul! ❤🙏

[peter]

This is sublime and incandescent. What an artist she is.

[raffaelelazzaronimusic]

I. Allegro inquieto (0:21)
II. Andante caloroso (8:00)
III. Precipitato (14:50)

[willemboone]

The last movement is such a mess, there are more wrong than right notes!

[安海無人]

Other people's comments seem to be mixed, and the famous third movement is particularly unique.
The keystrokes sound as if she is stroking, and the tempo is abnormally fast. Especially the conclusion is so atypical that I'm not even sure if ithey are just playing errors or if the notes are deliberately changed, like a jazz improvisation...

[lordleo]

4:12 WHAT!! ARE YOU SERIOUS?? she's just showing off at that point

[mariodisarli]

THE GUARDIAN    classical music    Wigmore Hall, London          
<Khatia Buniatishvili review - rash, immature playing>  Andrew
Clements    Thursday 2  April 2015  12.28 BST      "The jury is out whether Buniatishvili can ever be a serious artist after a shapeless Pictures at an Exhibition and Liszt as a low - grade circus act."
There’s no doubting Khatia Buniatishvili’s
 talent. The Georgian pianist has an imposing technique at her disposal
and, when she puts her mind to it, the ability to produce moments of
insight and refined sensibility. She is in her late 20s now, at a time
in her life when most pianists are turning early promise into real
achievement, but to judge by the rash, immature playing in her latest
London appearance, Buniatishvili is still some way from doing that.
Her programme – Mussorgsky’s Pictures at an Exhibition and a sequence of
 Liszt
 – was clearly designed for effect, and to have her fans on their feet
and cheering at the end; predictably, they obliged. Pictures, though,
had no shape at all, with the slower movements ponderously slow –
Il Vecchio Castello was interminable – and faster ones lightning fast,
so that they became trivialised, and Buniatishvili kicked up such a
storm in The Hut on Fowl’s Legs that the dramatic effect of the segue
into the final Great Gate of Kiev, one of the clinching moments in the
whole work, was fatally undermined.
That tendency to extremes – the thinking that ever faster, ever
louder, is automatically the best way to go – ran through the Liszt
pieces too. Three studies from different sets, La Leggierezza, Feux
Follets and La Campanella, at least allowed everyone to admire the
pearly evenness of Buniatishvili’s fingering, but apart from a rather
unconvincing Liebesträume to begin, around them were pieces that
encouraged her to be as noisy as possible: the first Mephisto Waltz (not
 insidious, just rowdy), the Grand Galop Chromatique (turned into a
low-grade circus act) and the second Hungarian Rhapsody – played, of
course, in Vladimir Horowitz’s version, which adds tweaks and further
elaborations to Liszt’s original.
 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.

[mac]

If she didn't play so fast in the last movement the whole thing wouldn't be be full of mistakes. The last 30 seconds were barely recognizable.