Maike Charlotte Fuchs
+49 30 214 594-220
+49 30 214 594-226
Philharmonie im Gasteig Munich
Her technical prowess and ability to negotiate Liszt’s showy grandeur is a given, but her sense of his inner world, his wistful, nonchalant poetry (…) sets her apart as one to watch.
The Observer, Fiona Maddocks, 18/09/2019
The 27-year-old pianist Mariam Batsashvili already ranks among the most promising artists of her generation. She gained international recognition at the 10th Franz Liszt Piano Competition in Utrecht 2014. As BBC New Generation Artist, she made her debuts at the Cheltenham Festival, with the BBC Symphony Orchestra, the BBC National Orchestra of Wales and with the Ulster Orchestra at the BBC Proms. The summer of 2019 saw the release of her first album for Warner Classics.
She already gained her first experiences with leading symphony orchestras, including the Dutch Radio Philharmonic Orchestra under the baton of James Gaffigan in the Concertgebouw Amsterdam (Liszt Piano Concerto No. 1), the Rotterdam Philharmonic Orchestra under Rafael Payare (Tchaikovsky Piano Concerto No. 1), the Brussels Philharmonic Orchestra (Saint-Saëns Piano Concerto No. 2), the Düsseldorf Symphony under Alexandre Bloch (Clara Schumann Piano Concerto) and the MDR Symphony Orchestra under Dmitry Liss (Mozart Piano Concerto No. 23 K.488). She has also given recitals in more than 30 countries – among these China, South Korea, Indonesia, Brazil, South Africa, France, Spain, Norway, the Baltic countries, Benelux and Germany. She has been the guest of many international festivals, such as the Beethovenfest Bonn, the Schleswig-Holstein Music Festival, the Piano City festival in Milan and the Piano aux Jacobins festival in Toulouse.
She was nominated by the European Concert Hall Organisation (ECHO) as ‘Rising Star’ for the 2016/17 season, and performed in the most significant concert halls throughout Europe. Last season, she gave performances at the Philharmonic Hall of St Petersburg, the Tonhalle Zürich, the Mozarteum Salzburg and the Wigmore Hall and made her acclaimed debut at the Philharmonie Berlin as part of the series “Debüt im Deutschlandfunk Kultur”.
Her debut with the Royal Philharmonic Orchestra under Alexander Shelley, in which she played Liszt’s Piano Concerto No. 1 in 2018, resulted in an immediate re-invitation for the season of 2019/20 with his 2nd Piano Concerto. She also received great acclaim for her debut concerts in China and Japan and was immediately reinvited to play Tchaikovsky’s Piano Concerto No. 1 with the Yomiuri Nippon Symphony Orchestra under Sylvain Cambreling. She also made her successful debuts at the Musikverein Vienna with the Württembergische Philharmonie Reutlingen (Tchaikovsky Piano Concerto No. 2) and in Brussels’ Flagey with Le Concert Olympique (Mozart Piano Concerto No. 20 K.466). Special highlights of the 2020/21 season are her debuts with the Munich Symphony (Tchaikovsky Piano Concerto No. 1), the Filharmonia Opolska (Tchaikovsky Piano Concerto No. 2) and the Orchestra of the Opéra national de Lorraine (Clara Schumann Piano Concerto) as well as recitals at the Wigmore Hall, the Muziekgebouw Amsterdam, the State Theatre Darmstadt, the Schumannfest Düsseldorf and the Klavierfestival Ruhr.
Born 1993 in Tbilisi, Georgia, Mariam Batsashvili first studied with Natalia Natsvlishvili at the E. Mikeladze Central Music School in her hometown, before continuing at the Hochschule für Musik Franz Liszt in Weimar with Professor Grigory Gruzman. In 2011 she won First Prize at the International Franz Liszt Competition for Young Pianists in Weimar, and received the prestigious Arturo Benedetti Michelangeli Award in 2015. Mariam Batsashvili is a scholarship holder of the Deutsche Stiftung Musikleben and is supported by The Keyboard Charitable Trust. She has been an official Yamaha Artist since 2017.
This biography is to be reproduced without any changes, omissions or additions, unless expressly authorised by the artist management.
Her technical prowess and ability to negotiate Liszt’s showy grandeur is a given, but her sense of his inner world, his wistful, nonchalant poetry – in the Grande études in A flat or the Consolations (Pensées poétiques) or the Polish Songs after Chopin – sets her apart as one to watch.
The Observer, Fiona Maddocks, 18/09/2019
Mariam Batsashvili began Tchaikovsky’s Piano Concerto No. 1 in B minor powerfully – but not with violence, rather with grandeur. (…) The young pianist has a superbly clear attack, and technically speaking plays perfectly, without being interested in perfection or making a show of it. No, she is interested in something quite different: in maintaining intimate contact with the accompanying orchestra, for example, not only with her playing, but also physically, with looks and gestures. She understands music making as concert-giving in the best sense – together.
Süddeutsche Zeitung, Egbert Tholl, 13/5/2017
With its extreme technical challenges, the work (Liszt’s Sonata in B minor) is not easily accessible for a wide audience. The night before last, however, these difficulties didn’t seem to be a hindrance, rather an incentive for the young star pianist from Georgia, who knew to emphasise to the full the expressive moments in the distinctive thundering ostinato passages.
Heraldo de Aragón, Luis Alfonso Bes, 26/4/2017
The competition can consider itself fortunate with a winner like Mariam Batsashvili. For her natural and poignant interpretations, charismatic appearance and a tone quality rarely heard among virtuosos.
The Pianist (United Kingdom)
Batsashvili is a brilliant and imaginative musician who infuses her playing with a suggestive tension.
Eindhovens Dagblad (The Netherlands)
A spectacular performance of Tchaikovsky first concerto (..) showed her technical AND musical superiority.
Trouw (The Netherlands)
One of the pianists that I am looking forward to hearing again. Her performance was very sensitive. It felt as if she could transmit her musical thoughts very well.
Chopin magazine (Japan)
She send out so many otherworldly aesthetic moments in her playing, and all come naturally. The spirit of Liszt gracefully immersed in her interpretation.
Piano Artistry (China)
|L. v. Beethoven||Piano Concerto No. 3 C minor, Op. 37|
|Piano Concerto No. 5 E-flat major, Op. 73|
|Fantasy for piano, choir and orchestra C minor, Op. 80|
|Rondo for piano and orchestra B-flat major, WoO6|
|F. Chopin||Piano Concerto No. 2 F minor, Op. 21|
|F. Liszt||Piano Concerto No. 1 E-flat major, S. 124|
|Hungarian Fantasy for piano and orchestra, S. 123|
|Malédiction' for piano and string orchestra, S. 121|
|E. Lomdaridze||Piano Concerto "Imeruli"|
|W. A. Mozart||Piano Concerto No. 20 D minor, K.466|
|Piano Concerto No. 21 C major, K.467|
|Piano Concerto No. 23 A major, K.488|
|C. Saint-Saëns||Piano Concerto No. 2 G minor, Op. 22|
|C. Schumann||Piano Concerto A minor, Op. 7|
|R. Strauss||Parergon Sinfonia Domestica for Piano (Left Hand) & Orchestra, Op.73|
|P. Tschaikowski||Piano Concerto No. 1 B-flat minor, Op. 23|
|X. Xian||Piano Concerto "Yellow River"|
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|J. S. Bach||Prelude and Fugue No. 2 in c minor BWV 847|
|Prelude and Fugue No. 5 in D major BWV 850|
|Prelude and Fugue No. 15 in G major BWV 884|
|English Suite No. 3 in G minor BWV 808|
|Chromatic Fantasia and Fugue D minor BWV 903|
|Goldberg Variations, BWV 988|
|A. Marcello / J. S. Bach||Concerto in D Minor BWV 974|
|J. S. Bach / F. Busoni||Chaconne in D minor BWV 1004|
|B. Bartók||Allegro barbaro BB 63|
|L.v. Beethoven||Piano Sonata No. 1 in E dur op. 14|
|Piano Sonata No. 14 C-sharp minor op. 27/2 'Moonlight'|
|Piano Sonata No. 21 C major op. 53 'Waldstein'|
|Piano Sonata No. 23 F minor op. 57 'Appassionata'|
|Piano Sonata No. 29 B-flat major op. 106 'Hammerklavier'|
|Rondo a capriccio for piano G major op. 129|
|C. Czerny||Etudes 'The School of Velocity' op. 299|
|Etudes 'The Art of Finger Dexterity' op. 740 (selection)|
|F. Chopin||Ballade No. 1 G minor op. 23|
|Etudes op. 10 No. 2, 4, 5, 8 and 12|
|Etude op. 25 No. 12|
|Andante Spianato and Grande Polonaise Brilliante E-flat major op.22|
|Nocturne No. 4 F major op. 15/1|
|Waltz No. 5 A-flat major op. 42|
|Waltz No. 1 D-flat major op. 64 'Minute Waltz'|
|M. Clementi||Etudes "Gradus Parnasus" op. 44 No.1, 2, 12, 13 and 26|
|C. Debussy||Préludes pour piano|
|G. Gershwin||Three Preludes|
|E. Grieg||Carnival Scene op. 19 No. 3|
|J. Haydn||Piano sonata D major op. 30 No. 3 (Hob XVI:37)|
|F. Liszt||Études d'exécution transcendante No. 4 'Mazeppa' D minor S. 139/4|
|Études d'exécution transcendante No. 10 F minor S. 139/10|
|Grande Étude de Paganini No. 3 S. 141/3 'La campanella'|
|Grande Étude de Paganini No. 4 S. 141/4 'Arpeggio'|
|Liebesträume - Three Notturnes S. 541|
|Consolations S. 172|
|Sonetto 47 del Petrarca (Années de pèlerinage Deuxième année Italie) S. 161/4|
|Sonetto 104 del Petrarca (Années de pèlerinage Deuxième année Italie) S. 161/5|
|Sonetto 123 del Petrarca (Années de pèlerinage Deuxième année Italie) S. 161/6|
|Après une lecture du Dante: Fantasia quasi Sonata (Années de pèlerinage Deuxième année Italie) S. 161/7|
|Tarantella (from Venezia e Napoli - Supplément aux Années de Pèlerinage) S. 162/3|
|Bénédiction de Dieu dans la solitude (Harmonies poétiques et religieuses) S. 173/3|
|Andante lagrimoso (Harmonies poétiques et religieuses) S. 173/9|
|Piano Sonata B minor S. 178|
|Sarabande and Chaconne on themes from Haendels AlmiraS. 181|
|Hungarian Rhapsody No. 2 S. 244/2|
|Hungarian Rhapsody No. 12, S.244/12|
|Hungarian Rhapsody No. 13 S. 244/13|
|Die Loreley S. 532|
|Fantasy on themes from Mozart's 'Le nozze di Figaro' and 'Don Giovanni' S. 697|
|Piano version of: Beethoven's 1st Symphony, 1st movement (Adagio molto - Allegro con brio)|
|Arrangement of Schubert's 'Der Erlkönig' G minor S. 558/4|
|Wedding March' and 'Fairies Dance' from Mendelssohn's Midsummer Night's Dream S. 410|
|Pilgrims Chorus' from Wagner's 'Tannhaeuser' S. 443|
|"Isoldens Liebestod" from Wagners "Tristan und Isolde" S. 447|
|A. Matschawariani||The Ball|
|F. Mendelssohn-Bartholdy||Rondo capriccioso E major op. 14|
|W. A. Mozart||Piano Sonata No. 9 in D major K 311/284c|
|Piano Sonata No. 11 A major K 311 'Alla Turca'|
|Piano Sonata No. 8 A minor K 310|
|Fantasy D minor K 397|
|Rondo A minor K 511|
|I. J. Paderewski||Minuet G majuor op. 14/1|
|S. Prokofjew||Piano sonata No. 3 A minor op. 28|
|S: Rachmaninov||Prelude No. 2 B-flat major op. 23/2|
|Études-Tableaux No.6 E flat major op. 33|
|"Scherzo" from Mendelssohn's "A Midsummer Night's Dream" for piano|
|D. Scarlatti||Sonata G minor 'Cat's Fugue' K 30|
|Sonata B minor K 27|
|Sonata A major K 24|
|F. Schubert||Piano Sonata No. 9 B major, D 575|
|Impromptu No. 3 G-flat major D 899|
|Impromptu No. 1 F minor D 935|
|D. Turiashvili||2 Preludes, 'Melody' and 'Andante maestoso'|
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Mariam Batsashvili has stunned, fascinated and touched audiences at the most renowned concert halls in Europe during her tour as a “Rising Star” of the European Concert Hall Organisation (ECHO). Now, the young Georgian pianist has just received the exciting news that she will be a BBC New Generation Artist, as part of which she will perform at major festivals and concert venues across the UK during the next two seasons. In conversation, she shares her impressions on a whirlwind few months, the magic of the classical concert, and her tips for surviving the rigours of life on tour....
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