The article is devoted to identifying the features of the performing interpretation of Maurice Ravel’s choreographic poem “Waltz” for solo piano. Against the background of the vast Russian raveliana, this particular topic did not receive detailed coverage. The author identifies a number of problematic aspects that arise before the performer of “Waltz”, and considers them based on his own concert experience and in comparison with the interpretations of famous modern pianists Wang Yujia and Beatrice Rana, who differ in individual style. It is noted that the performing concept is built on the basis of an understanding of the composer’s idea, ideological and figurative content, genre specifics, textural solutions and knowledge of the orchestral score of the poem. During the performance analysis, special attention is paid to some details (polyrhythmy, arpeggio, agogic techniques, chromatic passages), fragments of a three-line clavier, which in the practice of pianists receive various reading options. In conclusion, conclusions are drawn about the ambiguity of the musical and semantic content of the “Waltz”, the variability of interpretation proposed by Ravel, but the inadmissibility of simplification and distortion of the artistic idea. Ravel’s unique synthesis of choreography, theatricality and symphonism gives reason to recommend pianists to perform “Waltz” as a timbre-colorful, spatially visible, piano-stage picture.