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Piano can survive, and it can be absolutely sublime, all alone.
And this independence, this freedom also means a kind of solitude.
Actually, apart from Musikverein and Carnegie Hall and Italian theatres which are really old and legendary, most of the concert halls we’re playing nowadays are quite new, right?
So there is not much history in them, we have to build a new history. …the Palace Hall in Bucharest played host to the party’s official meetings, yes – that was its main purpose until the fall of communism, in 1989. But you know, when we change things for the better, we don’t need to destroy them, we can just give them a different life – for a new, better beginning. We might change governments and politics, and go more and more to the democratic way of thinking, but, at the same time, I think revenge is not a good thing. And she was just magnificent in Debussy – it was really a pure moment of happiness.
And Khatia’s special projects, her talent and enthusiasm going into different directions; and one of those roads led her to Stéphane Lambiel – pay special attention to this part.
And so this is a journey through music, through history, through metaphors, through skating. Because Khatia talks exactly like she plays Debussy’s : smooth and soft, more like a confidence.
But I remember having a little bit of fear of tomorrow.
A stop for finding out the stories of a certain hall in Bucharest – the one she was about to play in during Enescu Festival.And so who is this pianist who wasn’t overshadowed by the skaters she played for? The readers of Inside Skating have the wonderful opportunity to know a little more, as much as Khatia offered in a short yet nuanced conversation last autumn, when she came to Bucharest to play Schumann’s Piano Concerto alongside Israel Philharmonic Orchestra.