Brahms and Buniatishvili – a truly divine combination. The openness and timelessness inherent in the broad outlines of Johannes Brahms's Second Piano Concerto meet in Khatia Buniatishvili an interpreter who considers freedom the highest good: "It's as if you're in a trance, alone with the piano, simply following the music and suddenly feeling a great harmony within. The freedom of interpretation goes hand in hand with the freedom from yourself," she once described her ideal state. Artist and private person, orchestra and soloist, musical text and sound merge in this way into an inseparable unity. This can succeed when you understand your musical partners as seamlessly as the Parisian does with the Orchestre de la Suisse Romande, which unpacks its vast array of tonal colors in the second half of the concert with Debussy's "Images" for orchestra and its famous middle section, "Ibéria."

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Orchestra of French-speaking Switzerland / Khatia Buniatishvili / Jonathan Nott

Elbphilharmonie Hamburg

“I have written a very small and beautiful piano concerto” This is how Johannes Brahms described his second piano concerto for Clara Schumann. Brahms had a tendency to understate, because the “very small piano concerto” is in reality an enormous musical drama for piano and orchestra. It is music with an enormous range, from the fiery and thunderous to the intimate and lyrical, and everything in between.

Orchestre de la Suisse Romande

Mar 24, 2026

Orchestra of French-speaking Switzerland / Khatia Buniatishvili / Jonathan Nott

Mar 20, 2026

Suisse Romande Orchestra

Orchestre de la Suisse Romande