Nicolas Namoradze

The 2026/27 season takes him across North America, Europe and further afield with highlights including a series of recitals at the Konzerthaus Dortmund, recitals at London’s Wigmore Hall, Munich’s Prinzregententheater, Padova’s Palazzo Livano and the Vancouver Annex, highly anticipated returns to Japan and Taiwan for solo recital tours including performances at Tokyo’s Triphony Hall and Taipei’s National Concert Hall, and residencies at the Banff Centre and the Sarasota, Honens and Tonebase Festivals. Orchestral highlights include a Saint-Saëns concerto recording project, with a performance at New York’s Alice Tully Hall. He presents his groundbreaking “Neurorecital” at the Cristofori and Beakerhead Festivals, a project which has garnered extensive coverage including features in the New York Times, Financial Times, BBC Music Magazine, Classic FM, and Radio Classique. The season also sees several major composition premieres, including a co-commission by Wigmore Hall and the BBC premiering at the Wigmore, a Schnabel Foundation commission appearing on a new album on the Sono Luminus label, and the compulsory commissioned work for the Tbilisi International Piano Competition, where he also serves on the jury.

Previous seasons have included acclaimed performances of Brahms’ Piano Concerto No. 2 with Iván Fischer and the Budapest Festival Orchestra, whose broadcast medici.tv included as one of nine all-time greatest performances by former piano competition winners in a “prizewinner to pantheon” lineup and named him among thirty-five pianists in their list of “history’s most celebrated pianists.” Recent acclaim includes five-star reviews in The Telegraph and The Guardian, which described his Royal Festival Hall performance as “ideally laconic and debonair, weighty yet exquisite, and exactingly precise in tone and touch,” while International Piano hailed his Wigmore Hall recital as “unfolding in an opalescent glow, every bar touched with beauty… exultant and never less than technically immaculate.” Additional highlights include residencies with the Antwerp Symphony Orchestra, Verbier Festival, and Dresdner Philharmonie, recitals at major venues such as Carnegie Hall, Konzerthaus Berlin, Tokyo Bunka Kaikan, and Boston’s Gardner Museum, and concerto performances with the London Philharmonic, Sinfonieorchester Basel, Calgary Philharmonic, Milwaukee Symphony, RAI Symphony Orchestra and the National Symphony Orchestra of Ireland, under conductors including Karina Canellakis, Hans Graf, Jeffrey Kahane, Ken-David Masur, and Daniele Rustioni.

As a composer, Namoradze has received commissions and performances from esteemed artists, ensembles, and festivals including the Chelsea Music Festival, Portland Piano International, Klavier-Festival Ruhr and the Santa Fe Chamber Music Festival, with several album releases on the Steinway & Sons label. He has also scored several film soundtracks, such as Le chant des étoiles, and his works are published by Muse Press. Namoradze is also involved in new directions in performance and audience engagement, informed by his involvement in music-related fields in the cognitive sciences. His doctoral thesis at the CUNY Graduate Center developed mathematical models for aspects of musical perception, winning the Barry Brook Award for dissertation of the year. It is now published by Springer as the book “Ligeti’s Macroharmonies” in the Computational Music Science series. Namoradze presents recital formats that reimagine the concert experience through a range of innovative projects, including lecture-recitals, immersive multimedia performances, and interdisciplinary collaborations with scientific research.

Born in Tbilisi, Georgia and raised in Budapest, Namoradze studied in Budapest, Vienna, Florence, New York and London with mentors including Emanuel Ax, Yoheved Kaplinsky, Zoltán Kocsis, Matti Raekallio, András Schiff and Eliso Virsaladze in piano, and John Corigliano in composition. He now serves on the faculty of the CUNY Graduate Center and deputises at The Juilliard School.