NEW YORK — Khatia Buniatishvili has been a prominent figure in the classical music scene for over a decade. However, she prefers to downplay her celebrity status, allowing her music and captivating performances to take center stage.
In a recent interview, she expressed her thoughts on fame, saying, “Discussing my charisma feels like it might lead to narcissism, which is something I want to avoid.” Buniatishvili’s remarkable stage presence, coupled with her emotional performances and striking visual style, has helped her gain recognition as a leading name in the classical world. Originally from Georgia, she, alongside a new wave of musicians such as Icelandic pop-jazz artist Laufey, French violinist Esther Abrami, Nigerian opera singer Babatunde Akinboboye, and even pop icon Lizzo, who is classically trained on the flute, is working to eliminate the elitist perceptions often associated with classical music, appealing to younger audiences.
“I feel immense joy when I hear that younger people are engaging. That’s the essence of life,” remarked Buniatishvili, a two-time recipient of Germany’s prestigious Opus Klassik award for classical performances. She emphasized that the connection young listeners have with classical composers is a significant achievement in her life. Now 37, the French-Georgian pianist has collaborated with mainstream acts such as Coldplay and A$AP Rocky, and recently released her sixth solo album, “Mozart: Piano Concertos Nos. 20 & 23,” featuring the Academy of St Martin In The Fields chamber orchestra.
In a conversation, Buniatishvili reflected on her experiences with fame, her love for Mozart, and her aspirations for a more equitable classical music environment. The following exchanges have been adapted for clarity and conciseness.
When asked why she tends to avoid discussing her famous persona, Buniatishvili explained, “It can be easy to slip into narcissism as an artist, as it often seems to focus on one individual. However, it’s truly about the broader impact you create.” She emphasized the importance of setting a positive example for the younger generation, reminding them that while self-exploration through social media is valuable, it should not overshadow real-life experiences.
Her lifelong bond with the piano, she noted, was present from the start, saying, “From my earliest days, the piano felt like part of my family, providing a sense of comfort amidst life’s possibilities.”
Discussing her latest album, Buniatishvili described the unique experience of recording “Mozart: Piano Concertos Nos. 20 & 23” with a chamber orchestra without a conductor. She stated, “This collaboration was particularly special as I directed the players, fostering a dynamic that brought forth their individuality. It was essential to communicate convincingly, as I sought to carve out my interpretation while still showcasing their unique qualities.”
When prompted about her choice to forgo a conductor for the album, she affirmed, “I wanted to express my vision authentically. Conductors can offer valuable insights, but I was eager to approach this project on my terms.”
Professionally, Buniatishvili is most proud of her ability to build her career independently, stating, “Despite not always being included in top orchestras, I remained undeterred, performing solo when necessary. My journey reflects resilience in a field that can often feel hierarchical.” She believes in the need for ongoing efforts toward gender equality and inclusiveness in classical music, recognizing the genre’s beauty but acknowledging its sometimes divisive structures.
In summary, Buniatishvili not only showcases her remarkable talent and stage presence but also represents a movement advocating for change and accessibility in the classical music sphere.