Last October, I had an unfortunate accident and broke a finger — an experience every pianist dreads. I was forced to cancel several concerts, including what would have been the premiere of Esteban Benzecry’s second piano concerto, Constelaciones del Tiempo, and a return to the Boston Symphony with Andris Nelsons.

 

But I was lucky. With time, care, and the support of so many people, I made a full recovery. And since January, I’ve been back! My first recital of the year in Lyon was a deeply emotional moment, and playing recently in Norway — both in chamber music with Sonoko Miriam Welde and with orchestra — reminded me just how much I’ve missed making music with others.

 

Before the injury, I had been incredibly fortunate to live through some truly extraordinary musical experiences over the past couple of years. I had the immense honor of playing with the Berlin Philharmonic under Gustavo Dudamel — a lifelong dream. There were unforgettable performances with the Los Angeles Philharmonic (both in LA and in Colombia), the Philadelphia Orchestra with Yannick Nézet-Séguin, the Montreal Symphony with Rafael Payare, the Royal Liverpool Philharmonic with Domingo Hindoyan, the Queensland Symphony Orchestra with Johannes Fritzsch, and the BBC National Orchestra of Wales with Giancarlo Guerrero.

 

Festivals have also brought some of the most beautiful moments of these years — from the Gilmore and Ruhr Festivals to La Roque d’Anthéron, and two deeply meaningful concerts with Martha Argerich: first in Lucerne and then at her festival in Hamburg, this time with my sister Karin. Sharing the stage with family and a lifelong mentor — what more could I ask for?

 

Now, after the detour of my injury, I’m especially thrilled to finally be presenting the premiere of Benzecry’s Constelaciones del Tiempo, a piece written for me and commissioned by the wonderful São Paulo Chamber Soloists. This is the second piano concerto Esteban has composed for me — the first premiered with Gustavo Dudamel and the LA Philharmonic, and later with the New York Philharmonic. This new work is just as powerful: a cosmic, emotional, and virtuosic journey that I can’t wait to share.

 

These past years have also brought opportunities beyond the stage — like serving on juries (with the Busoni Competition coming up), which has allowed me to witness the spark of the next generation. And more and more, I feel called to start teaching — to give back some of what I’ve received from the incredible mentors who shaped me.

 

I just want to thank you all for making my life so rich and full of love. For me, music is an act of love, of communication, and of communion. Nothing is more inspiring than feeling that connection with all of you — and creating a world of music together.