Personally, I think it's extremely important to have @Nightowl 's comments in this thread.
If you, @navindra or anyone else reading here, never want to play a public recital again, never want to play an unfamiliar piano, never want to experience a C&B again, then by all means, don't do anymore recitals. Oh, and don't read those three novels I wrote above. š
But, if you're not sure, or if you think you might still want to play publicly, then you have some thinking to do. (And in that case, by all means, please read my very long and wordy posts above)
Nightowl Stop blaming yourself and accept your limitations in this respect.
This is very, very important advice. But, interestingly enough, I think it applies to everyone, whether one wants to perform publicly or not.
When I had my C&B experience, as I wrote above, I was incredibly disappointed and just in a funk for weeks. But forgiving myself (or, as @Nightowl says, not blaming myself) was one very important step toward getting out of that funk.
The other important step for me was to recognize and accept my limitations. Which, for me is the reality that I may never get over "the shakes." I may continue to have C&B recitals -- although I haven't had one in a while, even the recital I played in April where the shaky hands kind of got me more seriously than they have in a while, I wouldn't call that a C&B.
Anyway, I may never "conquer" the shakes, I may always experience stage fright. That's my limitation. I recognize and accept it.
But I still want to perform, I still want to play for other people (outside of my house), I still care about doing these performance activities. And since I was able to figure out and articulate that for myself, then I started working on how to do better at performing despite my limitations.
Nightowl Some people are unable to cure their stage fright, no matter how hard they try.
I agree and disagree with this. I mean, I agree in that I don't think I'll ever be "cured" of my stage fright. But I have figured out how to live with it, and how to prevent it from (again to borrow Nightowl's words) "spoiling a lovely hobby." Because for me, part of the lovely hobby includes playing for others. Nightowl gives the example of someone who decided that her stage fright was too much, and I know another concert pianist (who used to post at PW a lot) who retired from a successful concertizing career because the stress of performing took all the joy out of the music for her. So these examples are not uncommon. But so are the examples of people who figured out how to keep performing, and enjoy it, despite the nerves.
So it all depends on what works for you. Not everyone needs to do it the same way.
If performing publicly is only awful, don't do it. But if there are aspects of it that you love, then you absolutely can figure out how to do better, how to prevent the C&B experiences, and how to enjoy even the most stage-fright-filled recitals.
Because, for the record, I firmly believe that it's possible to play through the shakes. You can have the fight or flight response kick in 100% and still give a great performance. I know because I've done it, as have many, many other amateur and professional players. (FWIW, I think the true C&Bs happen when we're blindsided, when we think they aren't going to happen, and that may be part of why @navindra 's experience this time was so hard, because you had those pieces in such a good place etc.)
Anyway, the great thing is, as Nightowl reminds us, this is just a hobby. You can decide which parts of it you want to participate in.
But just because some aspects might feel awful doesn't mean those are the parts that need to be jettisoned. You just have to figure that out for yourself.