Khatia Buniatishvili - Mozart Piano Concerto no.23 (14 Juillet 2019) 

Trsduçao

Frédéric Motteux: "Quelle intensité ! Quelle magnifique émotion ! Pour un concert en plein air précédant le feu d'artifice du 14 juillet, c'est une sacrée performance !!!" .... Bla-bla-bla- ...! Combien de plaisir dans les discours! Quelle étincelle dans les yeux! Combien d'émotions dans les mouvements! Les âmes volent de paradis en paradis! Quelle beauté magnifique et la taille des nez! Chacun de ces nez peut aspirer à la fois au moins 100 grammes de cocaïne! Ah, comme j'envie M. Mozart !!!

F. Motteux: Je me suis étonné que j'ai compris touts vos mots et sentiments! En d'accord. Je sais que Je perds La Francais depuis 45 ans (since) J'abitais en France (Sud, le Midi). J'aime bien Ms. Buniatishvili et sa talente. 🎵🙏🇺🇸

B.Z. Berlin „Sexistische und hässliche Kommentare“ wegen dieses Dekolletés Nach dem Konzert mit Zhubin Metha am 18.9. 2017 gab es eine Flut von anrüchigen Kommentaren auf RU-vid Foto: youtube Claudia von Duehren 5. November 2018 11:03 Bereich: Musik Themen: Internationale StarsKultur und Leute Sicher galt die Aufmerksamkeit auch dem überaus virtuosen Spiel der georgischen Pianistin Khatia Buniatishvili (31). Weit mehr Interesse erregte aber ihr atemberaubendes Dekolleté. Das RU-vid-Video ihres Klavierkonzerts mit Dirigenten-Legende Zubin Metha hat fast zwei Millionen Aufrufe. Die Kommentarfunktion musste bei der Aufnahme vom 18. September 2017 gesperrt werden. „Es gab sehr viele sexistische und hässliche Kommentare“, erinnert sich Khatia Buniatishvili. Am 5. November wird die Klaviervirtuosin in der Philharmonie, begleitet vom Nationalorchester Lyon, Rachmaninoffs Klavierkonzert und Mussorgski „Bilder einer Ausstellung“ spielen. B.Z. erreichte die gefeierte Pianistin vor ihrem Berlin-Konzert in ihrer Wahlheimat Paris. WERBUNG inRead invented by Teads Kein Verständnis für Aufregung um Ausschnitt Khatia Buniatishvili kann die Aufregung um ihren Ausschnitt nicht verstehen. „Ich interessiere mich nicht für Mode. Ich gehe auch nicht gerne shoppen. Für mich ist Mode Kunst und der Prozess des Einkaufens macht die Kunst kaputt“, betont die Musikerin. Khatia Buniatishvili vertraut darauf, dass Zuschauer auf ihr Spiel achten und nicht nur auf ihre Kleiderwahl (Foto: youtube) Khatia Buniatishvili vertraut darauf, dass Zuschauer auf ihr Spiel achten und nicht nur auf ihre Kleiderwahl (Foto: youtube) „Meine Mutter ist meine Stylistin, sie kauft auch alle meine Kleider ein. Ich verstehe die Aufregung um mein Äußeres nicht. Meine Musik ist viel wichtiger als mein Dekolleté“, versichert die alleinstehende Künstlerin. „Natürlich sehen die Menschen zuerst mein Kleid“ ...

Não conhecia mas foi bela apresentação, parabéns 👏👏👏

Petit coquin va, tu regardes quoi quand tu écoutes le piano là ?

# Attractiveness of live venue video, # piano, # pianist, # piano solo, # performance speed of songs is the fastest. # Stage LED lighting, # camera splitting and cut splitting, 🎹 The pianist's performance is wonderful with the nuances of the dynamics of the performance. Overlap 1:31 seconds, camera division 1:53 seconds, 1:57 seconds, stage lighting 2:13 seconds, stage LED lighting 1:40 seconds, camera division and cut division 2:58 seconds 3:52 sec., Harmonics Ensemble 8:19 sec. 🙌👍❤️ Thank you. 😊

Who are you talking about?! Mozart ?! Who needs it? Khatia should advertise for an institution selling something brilliant for the neck of Georgian women, she will get money for it! It's much more important than some Mozart! After that, Khatia must entertain with this "pianism" this mass of citizens who have gathered around the French rocket, which has been trying to fly for a hundred years. For this, Khatia and the gang of businessmen who organized this "cheap show" will receive a good amount of money from the Parisian authorities! Mozart ?! Ha ha - ha, ...! Money rules the world!

@@mariodisarli1022 Classical music? No! Western consumerism !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player

@@mariodisarli1022 Nothing is perfectable when putting on an event like this. Just enjoy it. At least Paris put on an elegant evening of music. My country, the US, would have put on an event for rappers and forgettable no-talent goons.

@@mariodisarli1022 Enjoy, don't be a cynic.

# Attractiveness of live venue video, # piano, # pianist, # piano solo, # performance speed of songs is the fastest. # Stage LED lighting, # camera splitting and cut splitting, 🎹 The pianist's performance is wonderful with the nuances of the dynamics of the performance. Overlap 1:31 seconds, camera division 1:53 seconds, 1:57 seconds, stage lighting 2:13 seconds, stage LED lighting 1:40 seconds, camera division and cut division 2:58 seconds 3:52 sec., Harmonics Ensemble 8:19 sec. 🙌👍❤️ Thank you. 😊

Et dans ce cas, je suis sûr que vous aimeriez cela de toutes les manières ... nous sommes au 21ème siècle! Probablement le morceau de musique le plus connu de Ring des Nibelungen de Wagner, la "Randonnée des Valkyries". Khatia, Yuja, Alice, ... est là, ainsi que toute une société de consommation occidentale

MILANO 06.11.2014 6 novembre 2014 Per la Società del Quartetto si è esibita la pianista georgiana con pagine di Musorgskij, Chopin, Ravel e Stravinskij di Luca Chierici LA PIANISTA GEORGIANA Khatia Buniatishvili, classe 1987, si è esibita l’altro ieri sera per la Società del Quartetto e per la prima volta a Milano in un recital tutto suo, dedicato a pagine di Musorgskij, Chopin, Ravel e Stravinskij. Conoscevamo già il suo approccio alla tastiera grazie all’ascolto di numerosi “live” trasmessi dai satelliti di tutta Europa negli ultimi anni e alla sua partecipazione a una serata scaligera dello scorso anno, quando si era prodotta nel secondo concerto di Rachmaninov con Gianandrea Noseda, senza riscuotere particolari consensi. La Buniatishvili appartiene a quella razza di esecutori che conquistano un posto di spicco nei programmi concertistici (e nella graduatoria dei cachet) senza avere mai vinto un primo premio nei concorsi più prestigiosi o senza mai essere passata al vaglio di un esame critico almeno in base a una consistente produzione discografica. L’ascolto in sala avrebbe dunque dovuto chiarire quale fosse la vera natura di una solista che si presentava al pubblico milanese attraverso un programma di notevole difficoltà quanto piuttosto generico nell’impaginazione. Il pubblico, che non affollava certo la sala anche a causa di un nubifragio occorso giusto nel momento in cui ci si preparava a uscire di casa e ad affrontare il traffico cittadino per raggiungere il Conservatorio, ha tributato convinti applausi alla Buniatishvili al termine di ogni pezzo in programma, complice anche la particolare avvenenza della pianista, che sa vendere molto bene la propria immagine, come del resto fanno molti personaggi del mondo musicale odierno. Giudicata secondo gli standard, ossia in base alle qualità che un artista dovrebbe dimostrare di possedere partendo da una lettura corretta del testo, la Buniatishivili è assai deludente. Anzi, induce a pensare che la maggior parte del pubblico non abbia proprio idea di quali siano le garanzie minime che un esecutore deve essere in grado di assicurare una volta che si presenti in sala. Ciò che più disturba nella Buniatishvili è l’assoluto disprezzo per il segno, che viene stravolto solamente per soddisfare un proprio inspiegabile narcisismo e per coprire le proprie incapacità o la mancanza di studio adeguato. La Buniatishvili sembra non conoscere cosa sia il tactus, quali siano le richieste del compositore in termini di dinamica, di colore, di fraseggio e soprattutto si pone nei confronti dello spartito con un atteggiamento arrogante che la autorizza a praticare forti sconti sulla resa di quanto indicato sulla pagina e ad immergere ogni suono in un fastidioso alone di pedale. I Quadri di Musorgskij erano da questo punto di vista emblematici, con un inizio sottovoce, come se la Passeggiata fosse condotta in uno stato di sonnambulismo; uno Gnomus irriconoscibile, confuso, ritmicamente traballante; un Castello per il quale valeva quella famosa definizione coniata da un critico poco entusiasta e citata da Dallapiccola, secondo la quale il medesimo maniero… «non trovava acquirenti». Tutta la parte finale, da Baba Jaga alla trionfale conclusione era suonata con una approssimazione tale e con uno stravolgimento del senso musicale mai uditi prima d’ora. Gli stessi eccessi e le stesse perdite di controllo si notavano anche nel secondo scherzo di Chopin, nella versione per pianoforte solo de La valse di Ravel e soprattutto nello stravinskiano Petruška. Forse il pubblico odierno non sa quante vecchie e nuove generazioni di pianisti abbiano dedicato ore, giorni, mesi, anni a queste pagine, allo scopo di restituirne il messaggio attraverso esecuzioni rispettose del testo e di ciò che esso richiede in termini di analisi, di studio, di fatica. Il pianismo appariscente quanto poco preciso della Buniatishvili, non ci interessa punto, non fa avanzare di un centimetro la conoscenza della musica classica e non rispetta il lavoro e la dedizione di tanti colleghi che si dedicano seriamente, forse oggi troppo seriamente e ingenuamente, all’Arte.

Marcel Proust Du côté de chez Swann (1913) « Qui du cul d’un chien s’amourose Il lui paraît une rose. » Elle a un style très vulgaire ; cette robe de pute, ces gros seins bien mis en valeur qui ballottent quand elle agite les mains et ces pompes, quelle horreur… C'est dommage …

@@mariodisarli1022 Je suis désolée de ne pas maîtriser l'Italien, comme vous le français...mais, au delà des apparences, et même si je ne partage pas l'engouement de certains pour " l'exposition de sa plastique" !..,je me borne à apprécier ses qualités pianistiques.... Votre "Chevauchée des Valkyries" me dérange....par sa comparaison quelque peu déplacée !...

@@brigittequerre8319 Buniatishvili est un pianiste absolument moyen, entraîné par des structures mafieuses! Il existe des milliers de pianistes de ce type en Europe! Le pianisme Buniatishvili est une sentimentalité inappropriée, jouer avec le corps, les cheveux, ces lèvres vulgaires, ces seins! Buniatishvili est une version bon marché du cabaret Moulin Rouge en musique classique. C'est dommage pour la musique classique, c'est un théâtre provincial pas cher !!!

# Attractiveness of live venue video, # piano, # pianist, # piano solo, # performance speed of songs is the fastest. # Stage LED lighting, # camera splitting and cut splitting, 🎹 The pianist's performance is wonderful with the nuances of the dynamics of the performance. Overlap 1:31 seconds, camera division 1:53 seconds, 1:57 seconds, stage lighting 2:13 seconds, stage LED lighting 1:40 seconds, camera division and cut division 2:58 seconds 3:52 sec., Harmonics Ensemble 8:19 sec. 🙌👍❤️ Thank you. 😊

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?!

Gracias. Nos vemos en L'Auditori en Noviembre.

Hi Mr Smith! "... 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.

Do you think KB is "Kim Kardashian of classical music"? www.pinterest.de/makvngz/kim-kardashian/

The video "Khatia with Great Placido Domingo in London". https: //ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IOdABb0NymA.html and the scandal surrounding Placido Domingo are an impressive example of how careers are made in the concert industry!

@@mariodisarli1022 Porto

​@Mario DiSarli get a life instead of spamming this crap in the comments

did she buy that necklace specially for the concert? It looks like an expensive necklace.

I believe she is representing Cartier.

www.pinterest.de/SimplyTheBestMe/khatia-buniatishvili/ Play on gals, make that money!!! :-) Sexy Khatia? No! too much vodka, caviar and potatoes!

@@mariodisarli1022 Incroyable! Sur l'une des scènes centrales de Paris, on voit une pianiste connue pour sa vulgarité et sa médiocrité?! Qu'est-ce qui t'arrive France ??? Où vas-tu ???

Me too.

@@mariodisarli1022 Mentioning vodka, caviar and potatoes, if you mean that she's Russian, you're mistaken. She isn't Russian, she's Georgian. You'd rather mention red wine.

Or, Curried Popcorn. (Does Exist)

"Yes wow..." She plays for your grandmother and for all the “grandfathers” of the whole world! Grandfathers, after seeing this "French Beauty" (neckline, diamonds, chic nose, unimaginable luxury) remember their "best times"! Grandfathers will sleep restlessly this night!

"talented beauty"" he-he-he-he- ! >>>A Violinist in the Metro

How much delight in the speeches! What a sparkle in the eyes! How many emotions in the movements! Souls fly from heaven to heaven! What a magnificent beauty and size noses! Each such nose can draw in at a time at least 100 grams of cocaine! Ah, how I envy Mr. Mozart !!!

@@mariodisarli1022 The video "Khatia with Great Placido Domingo in London". https: //ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IOdABb0NymA.html and the scandal surrounding Placido Domingo are an impressive example of how careers are made in the concert industry!

@@mariodisarli1022 Do you know the difference between bees and flies? Bees always look for and find beautiful and fragrant flowers to collect nectar for honey... And flies are attracted by smell of carrion and shit... You look like a fly, not a bee...

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 maybe stop spamming this one random guy's opinion in the comments and get a life?

GERMANY 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, ...

Buniatishvili est vulgaire dans tout, dans son comportement sur la scène, dans son habillement dans la scène, dans son pianisme! C'est un produit pour divertir sexuellement la foule et gagner de l'argent pour le manager! Tout ce qu'elle dit est préparé et rendu par la grande équipe derrière elle! En France et en Europe, il existe des dizaines de pianistes de la plus haute classe, mais ils ne montreront pas leurs seins et d'autres parties du corps sur scène. Par conséquent, la route vers la scène est fermée pour eux! Nous pouvons dire avec une certitude absolue: dans le secteur du concert, la mafia est active et cette vidéo en est la preuve!

@@mariodisarli1022 Khatia!!! Wow!!! She's got the biggest, prettiest breasts on the classical stage. ... Damn the piano playing. Who cares? That body is as much a gift from God as that sound she makes on that piano. Such a pleasure to hear this busty beauty play Schumann, Chopin, ... Katia Buniatishvili is the last word on pianists. Imagine her body when she turns 45 years old. Good Lord. The woman is an earth goddess!

Concordo plenamente!

from GERMANY 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, ...

Privet Babushka! Buniatishvili est vulgaire dans tout, dans son comportement sur la scène, dans son habillement dans la scène, dans son pianisme! C'est un produit pour divertir sexuellement la foule et gagner de l'argent pour le manager! Tout ce qu'elle dit est préparé et rendu par la grande équipe derrière elle! En France et en Europe, il existe des dizaines de pianistes de la plus haute classe, mais ils ne montreront pas leurs seins et d'autres parties du corps sur scène. Par conséquent, la route vers la scène est fermée pour eux! Nous pouvons dire avec une certitude absolue: dans le secteur du concert, la mafia est active et cette vidéo en est la preuve!

ALEXANDER BOOT Author, critic, polemicist Blogs Alexander's blog Submitted by Alexander on 24 June 2013 - 12:59pm The other day I listened to something or other on RU-vid, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand... [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

@@georgescancan7503 , thank you for your substantive reply. I will read it in its entirety this evening. If we are agreed re: Miss Buniatishvili, her singular style and excellent talent, then I'm certain your assessment will add new admiration to my enjoyment of her career.

GIDON KREMER : ..."Sprechen wir noch einmal über den Erfolg... In der heutigen Zeit der Massenaufläufe und Vergnügungen wird es als besonders "cool" betrachtet, sich nach dem populären Geschmack zu richten. Es gäbe keine derartige Hysterie um "Namen" oder "Stars", wäre nicht jemandem in den Sinn gekommen, dass genau das sich wunderbar verkauft! Den Rahm abzuschöpfen bei den "Helden unserer Zeit", bei jenen der klassische Musik, ist für eine ganze Reihe von Firmen, Managern und Promotern mehr als attraktiv geworden. Doch auch die Musiker selbst beteiligen sich an diesem Spiel und rechtfertigen ihre Käuflichkeit damit, dass sie "die klassische Musik in die Massen tragen wollen".... die Tage der "verwegenen Burschen und wunderschönen Mädchen", die das Publikum verführen, sind gezählt. Sie werden schon bald abgelöst werden von ... ihresgleichen! Früher oder später wird auffallen, dass "der Kaiser ja nackt" ist! Ein in der Öffentlichkeit zum "Superstar" promovierter Künstler verleiht der vorgetragenen Musik keine zusätzlichen Feinheiten.Sein Name, dekliniert, konjugiert, geschätzt, verkauft, gefeiert, zu Lebzeiten lautstark bejubelt, wird ...in VERGESSENHEIT geraten. ...Welch großer Unterschied besteht doch zwischenden "Diener" der Musik und ihren "Benutzern"! So wie in der Kirche zwischen den wahren Hirten und den von der Religion schmarotzenden Kuttenträgern! ...

@@mariodisarli1022 Vous pensez beaucoup trop !

Classical music? No! Western consumerism !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player

Pop music?! Show?! Pop music has, for several decades, found that the "show" is even more important than the music. Think of all the top female pop performers of recent times - their shows are spectacular (as are their outfits), while the actual music is definitely secondary (sometimes even prerecorded)!!!

@@mariodisarli1022 Stop looking dude and use your ears friend!!!!!!!!!!!!!!

Pop music?! Show?! Pop music has, for several decades, found that the "show" is even more important than the music. Think of all the top female pop performers of recent times - their shows are spectacular (as are their outfits), while the actual music is definitely secondary (sometimes even prerecorded)!!!

Hi Dude! Do you have any knowledge of classical music? Maybe you need to "relax" elsewhere ???

Buniatishvili est vulgaire dans tout, dans son comportement sur la scène, dans son habillement dans la scène, dans son pianisme! C'est un produit pour divertir sexuellement la foule et gagner de l'argent pour le manager! Tout ce qu'elle dit est préparé et rendu par la grande équipe derrière elle! En France et en Europe, il existe des dizaines de pianistes de la plus haute classe, mais ils ne montreront pas leurs seins et d'autres parties du corps sur scène. Par conséquent, la route vers la scène est fermée pour eux! Nous pouvons dire avec une certitude absolue: dans le secteur du concert, la mafia est active et cette vidéo en est la preuve!

@@mariodisarli1022 Poor Little Mario! You Are Full of Green Envy cause you haven't been a Woman! Poor Little Mario!!! JAJAJA!!!

Khatia?! She's got the biggest, prettiest breasts(legs) on the classical stage. ... Damn the piano playing. Who cares? That body is as much a gift from God as that sound she makes on that piano. Such a pleasure to hear this busty beauty play Schumann, Chopin, Liszt .... Khatia Buniatishvili is the last word on pianists. Imagine her body when she turns 45 years old. Good Lord. The woman is an earth goddess! Wow!!! Ah, ah, ah!!!

Narcistic as always.

@@asdfasdf-gm5uk Bravo Mr! Dear Mariam Kasradze, "Mozart Piano Conzerto"??? Who are you talking about?! Mozart ?! Who needs it? Khatia should advertise for an institution selling something brilliant for the neck of Georgian women, she will get money for it! It's much more important than some Mozart! After that, Khatia must entertain with this "pianism" this mass of citizens who have gathered around the French rocket, which has been trying to fly for a hundred years. For this, Khatia and the gang of businessmen who organized this "cheap show" will receive a good amount of money from the Parisian authorities! Mozart ?! Ha ha - ha, ...! Money rules the world!

@@mariodisarli1022 I think this thread doesn't need bored and pitiful trolls so if you could please F*** off that would be great for everyone.

Она талант. Она отдаётся музыке вся.

вы плут

Ja. Fur mein too.

J'étais dans le public aux premiers rangs. Et c'est le plus beau concert auquel j'ai assisté de toute ma vie. La combinaison du cadre au pied de la tour Eiffel et des virtuoses qui se sont succédés ont créé une ambiance magique.

@@archium3455 je vous envie. Surtout pour katia qui est une artiste que j'apprécie

Napoleon was FUCKED IN HIS ANUS

# Attractiveness of live venue video, # piano, # pianist, # piano solo, # performance speed of songs is the fastest. # Stage LED lighting, # camera splitting and cut splitting, 🎹 The pianist's performance is wonderful with the nuances of the dynamics of the performance. Overlap 1:31 seconds, camera division 1:53 seconds, 1:57 seconds, stage lighting 2:13 seconds, stage LED lighting 1:40 seconds, camera division and cut division 2:58 seconds 3:52 sec., Harmonics Ensemble 8:19 sec. 🙌👍❤️ Thank you. 😊

Another jackoff or JERKOFF

The video "Khatia with Great Placido Domingo in London". https: //ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-IOdABb0NymA.html and the scandal surrounding Placido Domingo are an impressive example of how careers are made in the concert industry! STUTTGARTER - ZEITUNG.DE Plácido Domingo Weitere Frauen beschuldigten Opernstar der sexuellen Belästigung Von red/ap 05. September 2019 - 08:06 Uhr Nach der Enthüllung von Vorwürfen der sexuellen Belästigung gegen Plácido Domingo haben weitere Frauen den Opernstar beschuldigt. Elf Frauen sagten, dass er sie begrapscht, belästigt oder sich unangemessen verhalten habe. Momentan ist er der Generaldirektor der Oper von Los Angeles. Foto: AP Momentan ist er der Generaldirektor der Oper von Los Angeles. Foto: AP New York - Mehrere Wochen nach der Enthüllung von Vorwürfen der sexuellen Belästigung gegen Opernstar Plácido Domingo haben weitere Frauen den bekannten Mann beschuldigt. Elf Frauen sagten, dass der derzeitige Generaldirektor der Oper von Los Angeles sie begrapscht, belästigt oder sich unangemessen verhalten habe. Eine Frau sagte, Domingo habe 1999 hinter der Bühne ihre Brust unter ihrer Robe begrapscht. Andere schilderten, er habe sie angefasst, als sie dies nicht gewollt hätten oder versucht, sie zu küssen. Mehr zum Artikel Darf Placido Domingo noch auf die Bühne? Metoo in der Kultur Darf Placido Domingo noch auf die Bühne? Mehrere Angestellte, die hinter der Bühne arbeiten, sagten der Nachrichtenagentur AP, wie sie versucht hätten, junge Frauen vor dem Opernstar zu schützen. Die Verwaltung habe das mutmaßlich unangemessene Verhalten von Domingo ignoriert. Die Vorfälle sollen sich noch in der Saison 2016 bis 2017 an der Oper von Los Angeles abgespielt haben. Eine Sprecherin von Domingo, Nancy Seltzer, bezeichnete die Vorwürfe in einer Stellungnahme als „durchsetzt mit Widersprüchlichkeiten“. Details nannte sie nicht.

Trascendentale....