After exploring Khatia Buniatishvili’s website, the 37-year-old Georgian pianist evokes thoughts of an otherworldly encounter. Her biography culminates in a striking statement: ‘The cosmos is her garden, and it is in its movement that she feels alive, astride a comet.’

Upon meeting her in a Kensington hotel bar, it’s clear she is not literally riding a comet. Yet, this phrase reflects her unique approach to music and life. Buniatishvili’s performance style carries a wild intensity reminiscent of Sam Goldwyn’s advice to filmmakers: ‘Begin with an earthquake and build toward a climax.’

Some critics claim that her passionate interpretations and colorful personality exceed reasonable bounds. Buniatishvili dresses to embody her musicality, sometimes quite unconventionally. In a video promoting her Schubert album, she portrayed a drowning Ophelia, inspired by John Everett Millais’s painting, sparking intrigue and discussion. ‘What people should understand is that I offer everything on stage,’ she states. ‘There are no boundaries. After all, tomorrow is not guaranteed.’

She believes conforming to traditional interpretations of classical music borders on intellectual theft. ‘If your playing merely imitates the great pianists of the past, you are robbing them, rather than offering your own interpretation.’

Recently, Buniatishvili decided to prioritize solo recitals and personal programs over fulfilling requests from large orchestras. Next month, she will showcase this new direction at the Barbican in London, performing alongside six other talented soloists, including violinist Nicola Benedetti and countertenor Jakub Jozef Orlinski, in a concert characterized by emotion and intuition.

‘Before I chose to pursue my own path, I felt obligated to charm prominent conductors and orchestras,’ she reflects. ‘I found that unpleasant. While I consider myself a nice person, I didn’t want my career to hinge on being favored by specific conductors.’

Wasn’t that a risky choice? ‘Definitely. Forfeiting the traditional route leaves a significant gap in your schedule. But it is essential to remain true to oneself. Fortunately, promoters continued to offer me opportunities.’

Moreover, Buniatishvili hasn’t entirely stepped away from orchestral performances; she will be the soloist for Tchaikovsky’s First Piano Concerto at the BBC Proms this summer.

Her commitment to authenticity extends into her personal life as well. She travels frequently with her 16-month-old daughter, having amicably parted ways with her daughter’s father. ‘Has motherhood changed my perspective? Absolutely. I was quite egocentric at various points in my life,’ she admits. ‘I once believed performing was the pinnacle of my existence. Today, my child is my priority. This shift has granted me a sense of ease; I no longer worry about others’ opinions.’

Buniatishvili grew up in Tbilisi during the 1990s alongside her older sister Gvantsa, who is also a pianist and her manager. ‘Those times were challenging,’ she recalls. ‘Georgia had gained independence from the Soviet Union, which we all desired, yet it felt as if we had to start anew amidst utter chaos — with crime rampant and dire circumstances at home.’

How dire were things? ‘We frequently faced power outages, sometimes lacking both electricity and water. Not just hot water, but water altogether. However, our mother instilled discipline in us with the belief: ‘Practice diligently, and tomorrow will be brighter.’ We learned to perform with cold hands and on subpar pianos. I never complain about pianos today, as they are all a step up from what I had growing up.’

She gave her first concerto performance with an orchestra at the age of six and moved to Vienna at eleven to train with a teacher. ‘My parents saw it as an escape from a bleak reality,’ she states.

Didn’t she feel lonely? ‘All pianists grapple with loneliness due to the extensive time spent practicing alone,’ she reflects. ‘Yet, in that context, loneliness can also represent freedom.’

Buniatishvili is set to return to Georgia for performances in September for the first time in years, despite concerns over political unrest, saying, ‘The situation is somewhat alarming, especially with recent arrests for protesting election issues.’ She is firm in her stance not to perform in Russia. ‘Not while Putin remains in power.’

Residing in Paris, she has become an integral part of its musical scene, even performing at the reopening of Notre-Dame last December. ‘I was in Paris when Notre-Dame caught fire,’ she recalls. ‘It resonated with me deeply. It made me realize that even what we consider eternal—like Mozart’s music or Notre-Dame—can be fleeting.’

What piece did she play? ‘The same piece that will close my Barbican concert: the Adagio from the Bach/Marcello Concerto in D Minor,’ she shares. ‘To me, it symbolizes spring arriving at a cemetery—a representation that new life can heal past tragedies.’

Khatia Buniatishvili and Friends will take the stage at the Barbican in London on June 12. Buniatishvili will also perform at the BBC Proms on August 29.