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.
Mikhail Pletnev
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 multifaceted artist — conductor, pianist, and brilliant arranger — Mikhaïl Pletnev offers a recital of great intensity featuring Schumann’s Kreisleriana, rarely heard pieces by Grieg, and, to open the program, four of Bach’s Preludes and Fugues, of which he is today one of the most fascinating interpreters.
Over a period of almost forty years, Edvard Grieg composed some sixty pieces for piano, borrowing from the worlds of opera, popular song and fantasy. Like Bartók’s ‘Mikrokosmos’, some of these pieces are classics for young pianists, such as the famous ‘March of the Trolls’. Others, such as ‘Arietta’, have entered the collective imagination through the subtle balance they strike between playful naivety and muted nostalgia.
In this, Grieg builds a bridge with Schumann, who also had a taste for melancholy. But the pieces of his ‘Kreisleriana’ cycle have a similar structure in two contrasting parts, like the character in Hoffmann’s novels to which the composer refers.
To complete the programme, Mikhaïl Pletnev chose four of the most complex ‘Preludes and Fugues’, such as the G minor, which unfolds in the ancient rhythm of the anapest. This is an opportunity for Mikhaïl Pletnev to demonstrate his knowledge of sound planes, as he has become a specialist in revealing an entire orchestra in the palm of his hands.