The Église de Verbier hosts morning, afternoon and evening concerts. It is the Verbier Festival’s primary venue for solo, chamber music and vocal recitals.
Nikolai Lugansky
Select date and time
E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.
You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).
E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.
You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).
Verbier Festival 2026
The Verbier Festival 2026 invites you to experience classical music at its most vibrant, set against the breathtaking backdrop of the Swiss Alps. Each summer, this unique gathering transforms the alpine village of Verbier into a global meeting point for the world’s finest musicians and the next generation of rising stars — a place where tradition meets discovery, and every performance feels alive with possibility.
A recital by Nikolai Lugansky is always a profound experience, marked by great sincerity and free of any superfluous effects. His deep respect for the score allows him to capture the composer’s intentions with absolute clarity.
On the program: two monuments of Romantic piano music — Chopin’s 24 Preludes and Schumann’s passionate Humoreske.
Chopin was not yet 30 when his Preludes Op. 28 propelled him into the musical elite of his time. Busoni, Mompou, Bill Evans and even Donna Summer have covered these works, which have become true standards of romantic piano music.
In contrast to the conciseness and thematic efficiency of the Preludes, the Impromptus are closer in aesthetic to wandering and improvisation. Aristocratic sophistication in the first, aquatic lulling in the second, refinement of minimalist counterpoint in the third: Nikolai Lugansky, whose understanding of the mysteries of this music reaches new heights, is the ideal interpreter of this repertoire.
Schumann’s immense Humoresque contains in its many facets an elusive image of Eusebius and Florestan, the two sides of the composer’s personality. Children’s rhymes, pompous fanfares, demonic perpetual movements and melodies on the borderline of dreams: a work between fantasy and reality, to be rediscovered with every listening.