That's why Father Ullastres took me to the Teatro Principal and there he introduced me to the great Jorge Bolet after he had played Chopin during an unforgettable concert (mid-1940s?).

A fellow student in the same year as Jorge Bolet (1927) was Sidney Foster (born in Florence, South Carolina, in 1917) who was aged 10, the youngest student Curtis ever took. (In 1968 Foster, a Professor at Indiana School of Music 1952-77, was to coax Bolet there from Spain as a teaching colleague.) Imelda Delgado in a book on Foster relates a shocking event in which in 1929 the young Sidney was dismissed from Curtis for being a "bad boy", though it later turned out that i

During a tour of South America in 1983, Jorge had two dates in Peru. He admited that some countries he visited were politically unstable and sometimes dangerous. However he also mentioned to his friend Mattheus Smits that these countries were known for having attentive audiences of some highly cultured people. I am aware of the general situation in Peru at this time, but I recently looked at the specific political situation in July 1983. and it was grim I need to confirm

14 November 1981 Kobacker Hall, Bowling Green State University, Ohio Mendelssohn, Schumann Fantasy, Schubert/Liszt Lieder, Mephisto waltz (as 11 Nov. 1981) ​​ Boris Nelson, in The Toledo Blade 16.11.81: 'Mr Bolet's brilliant playing has been honed to the very edge. His immense, virtuosity, experience, and sheer intelligence all concentrate on the music's lyricism. And being a romantic at heart, he envelops it with a luminous sound that whispers or propels into a sunburst of p

'I played for Bolet in Sydney when he was on tour (1969 or 70): Chopin's fourth ballade. He was very complimentary. When I asked him, do you play much Beethoven, he answered "You don't have to play Beethoven to be a good pianist". Then he proceeded to play me some Chopin-Godowsky....a lovely man.'

Latest upload on YouTube, always to keep Jorge's name in view

After the commercial success of the Encores record (recorded in March and December 1985 in St Barnabas' Church, Finchley, UK and issued in 1987), Decca had in mind to make another one. 'Jorge liked the plan a lot and we talked often about the repertoire,' says Mattheus Smits. Strauss/Godowsky, Fledermaus Weber/Godowsky, Invitation to the dance Moszkowski, Caprice Espagnol Lecuona, Cuban dances selections The fourth movement)of Carl Maria von Weber's Piano Sonata No. 1 in C m

Just occasionally I might mention another pianist, and this evening Monday 4 May 2026 at the Wigmore Hall in London I heard Swiss Italian Francesco Piemontesi (b.1983 Locarno). He played Schubert's Sonata in G Major D894 followed by Liszt's Années de pèlerinage, première année, Suisse S160. I think it is one of the best piano recitals I’ve heard in 40 years of attending concerts. He also treated us to two encores, one of which was beloved of Jorge Bolet: Chopin/Godowsky, Étud

Jorge Bolet Ambassador Auditorium Recitals 1981/86 coming soon on First Hand Records. 3CD set and streaming on all platforms.

"He knew he had to take the stage, to stride up to that huge instrument and take command. 'Remember,' he'd say, 'it's likely to kick back." Andrei Svetlichny, Boston Globe, September 1982 As ever, I am grateful to Mattheus Smits for providing information to this website. He has alerted my attention to this tribute (edited) to Jorge Bolet's tuner in the USA. A Memorial Died April 12, 1998 • Born February 19, 1957 Andrei Svetlichny, 41 Tuner of Concert Pianos for the Stars By

This list does not include Cuba. See also 1974-84 In El Caribe (12.11.1981), Lamela Geler stated that Jorge visited Santo Domingo (Dominican Republic) in the early 1950s and played in the Teatro Olimpia, under the auspices of Sociedad Pro Arte. Now he gives a second recital in Santo Domingo. She goes on to state: 'Conocido mayormente en Europa y los Estados Unidos, ya que sus incursiones en América Latina han sido escasas, su repertorio está constituido por el total del ma

This list does not include Cuba. See also 1936-58 1974 In late 1974, Jorge was one of the judges on the Concurso Latinoamericano de Piano Teresa Carreño in Caracas, Venezuela. He made a number of concert appearances in Caracas. 1975 17 September 1975 São Paulo, Brazil Recital 19 and 21 September 1975 Teatro Municipal de São Paulo, Brazil Rachmaninoff's Paganini Variations OSESP (Orquestra Sinfônica do Estado de São Paulo) under Gerard Devos ​ 23 September 1975 [?] Rio de Ja

Another contender for Jorge Bolet's best review...

John Crouch, a former Indiana student of JB for 3 years, was interviewed in 1979 (what follows is a mixture of his own words and those of the journalist): 'Bolet is a natural pianist, like a natural athlete. At the peak of what could be called his first career, his manager was scheduling him for 100-120 performances a year, which is one almost every three days. Then, in his mid-50s, Bolet decided to start winding down his performing career and in 1968, accepted a teaching po

Página web: Clicc Bolet ofreció dos conciertos en la gran ciudad turca —antaño Bizancio, más tarde la legendaria Constantinopla y, desde 1930, oficialmente Estambul—. Los recitales tuvieron lugar los días 21 y 23 de junio, a las 21:30, en el Büyük Salonu (Salón Grande) del Centro Cultural Atatürk. El programa incluyó obras de Mendelssohn; la Sonata n.º 23 en fa menor, Op. 57 de Beethoven, conocida como Appassionata; el Prélude, Choral et Fugue de Franck —citado en turco como

Review of 10 May 1979 recital in the Queen Elizabeth Hall, London

¡No lo olvides! Hay una versión más corta de esta página web disponible en español. ¡Haga clic en el enlace! (El orador en el video no es real pero AI) Clases magistrales para BBC Scotland El 27 de febrero de 1983, Jorge interpretó el Concierto para piano n.° 3 de Rachmaninoff en el Usher Hall de Edimburgo, con la BBC Scottish SO y Bryden "Jack" Thomson, un brillante director escocés con una frase ingeniosa. Esto sería transmitido por la televisión de la BBC en el verano de

Jorge Bolet began his major return to the UK in 1977. Edward Greenfield's review is very complimentary. 17 February 1977, Thursday (he was aged 62) Queen Elizabeth Hall, London Haydn, Sonata in E flat (No.52), Telemann/Reger, Liszt 3 Concert Studies, Don Juan Fantasy Jorge was generous with encores. Chopin: Nocturne in F minor, Op.55 No.1, Moszkowski: La Jongleuse, Op.52 No.4, Chopin/Godowsky: Etude in G-flat major, Op.10 No.5 (Study No.7 in G-flat major), Liszt: Valse-Impro

¡No lo olvides! Hay una versión más corta de esta página web disponible en español (aunque todavía está en desarrollo). Por favor, ten en cuenta que no soy hablante nativo de español, así que habrá muchos errores en la traducción. No dudes en enviar correcciones. ¡Haz clic en el enlace! (El orador en el video no es real pero AI)

Recorded in 2019. I've added an audio file (it's too large to upload to a blog post) where a former student speaks about JB and orchestra, and about "retouching" music. LINK (then scroll down to "Liszt Totentanz") Conductor Gary Thor Wedow has led performances with opera companies, orchestras, festivals, and choral organisations throughout North America. Although he has conducted music from many different eras and styles, Wedow specialises in historically-informed performan