Beatrice Berrut was born and raised in Valais, in the heart of the Swiss Alps. Since childhood, the mountains have shaped her imagination as much as her philosophy. It was in this grandiose landscape that she developed an intimate relationship with nature and silence, which would become the invisible pillars of her art. As a child, she walked the snow-covered slopes and forests of her village, hand-in-hand with her sister, while at home the piano played by their mother resounded every evening – Schumann, Mendelssohn, a world of poetry to lull you to sleep.

Yet it wasn’t until the age of eight that she officially took up the piano, fascinated by this mysterious wooden box from which overwhelming harmonies spring. The instrument soon became the center of her inner life: a refuge, a parallel realm. At the age of eleven, an event triggers a profound revelation: the discovery of the Brahms’ Second Concertofound by chance in the family discotheque. It was an existential shock. Music takes hold of her, haunts her, elevates her. She breathed Brahms, dreamed Brahms, became Brahms. From then on, her path was clear: she would serve this music from another world.

Her adolescence was divided between hard work and long meditations on the shores of Lake Geneva, where she imagined Liszt strolling, also drawing inspiration from these landscapes. She recognizes herself in Obermann Valleya place of solitude, quest and doubt that has become an inner mirror for her.

Reading The Art of Piano by Heinrich Neuhaus was an aesthetic revelation. She discovered a vision of the piano as a miniature orchestra, capable of transcending its mechanics. From the age of 16, she studied with Esther Yellin in Zurich, then for five years with Galina Iwanzowa in Berlin, both heirs to the Neuhaus school. Later, she perfected her skills in Dublin with John O’Conora disciple of Kempff, thus continuing the German tradition of inner song.