My trawl through Jorge Bolet's concerts has clarified a number of issues. It looks as if it was in the mid-1970s that he introduced two new and substantial works to his repertoire. I could have missed earlier mentions but it may be that someone can explain how he came to these two works, especially the Reger which has high rarity value. 29 September 1975 Teatro Coliseo, Buenos Aires (Argentina) incl.Chopin's Sonata No. 3 in B minor Op.58 and the Mozart/Liszt Don Juan Fantas

The Mail & Globe, Toronto (April 1975) 17 April 1975; Eaton Auditorium, Toronto, Canada. [JB's Toronto recital début] Mendelssohn, Chopin, Sonata No.3, Liszt Petrarch + Tannhäuser 'When you consider, he's been playing professionally for more than 40 years, he seems to have taken his time getting up here. But then, as he says "I've been a long time arriving everywhere."'

Michael Steinberg wrote a long and considered review in The Boston Globe (4.8.1974) of Jorge Bolet's Carnegie Hall recording whoch RCA issued in August 1974 Carl Michael Alfred Steinberg (4 October 1928 – 26 July 2009) was an American music critic and author who specialised in classical music. He was best known, according to San Francisco Chronicle music critic Joshua Kosman, for "the illuminating, witty and often deeply personal notes he wrote for the San Francisco Sympho

In noting down that Jorge Bolet gave summer masterclasses at Indiana during 17-21 June, 1974, I recalled a witty remark from the transcript of one masterclass - not necessarily at Indiana - where he emphasised that the melody must always be brought out (something he always demonstrated in his own playing). He said something like: "I have given hundreds of concerts, and I've never known anyone to pay the price of admission to hear an Alberti bass."

Jorge never was a man for reading many books but, for sure, he knew which books to read. Mark Twain's 'Letters from earth' (which JB once recommended to a journalist) is certainly one of them. Jorge usualy read many magazines when on tour. These were mostly about cars, photography and cameras. He went crazy when in the USA the Canon A1 came out. As he knew that I also loved photography, he bought one for me as in Europe the A1 was not yet on the market. Mattheus Smits The Ca

There's a bit of drudgery leafing through masses of newspaper reviews, but it's worth it when you come across a jewel like this. 31 January 1971 (Sunday, 3pm) Fair Lawn High School, Fair Lawn, New Jersey, USA Beethoven: Piano Sonata No.31 in A-flat major, Op.110 Liszt: 12 Études d’exécution transcendante, S.139: 7. Eroica, 5. Feux Follets, 9. Ricordanza, 8. Wilde Jagd Chopin: 24 Preludes, Op.28 Encores: Schumann/Liszt: Widmung, Op.25 No.1 (S.566), Chopin: Waltz in D-flat majo

Speaking in 1974 to Russell Harty

Jorge Bolet in the Syndey Morning Herald and The Age

A couple of clippings from Cincinnati newspapers October 1963

Jorge Bolet on Latin American music, as reported in the Oregon Daily Journal , 17 November 1962

Redwood City Tribune, 31 December 1960

The Columbus Ledger (Georgia) devotes at least five articles to Jorge in October 1961

Jorge Bolet, Hochschule für Musik, Berlin, March 1961. "Only David Oistrakh received the sort of ovation this audience gave Mr Bolet, calling him again and again to the stage for more than half an hour after the concert." ( Tagespiegel 31.3.1961) Of the Liszt festival in Berlin in August/September 1961: Spandauer Volksblatt (5 October 1961), "When something up after the end of the Festival Weeks, Jorge Bolet's piano, recital will remain as one of the strongest assets. He pl

Santa Barbara newspaper, January 1961

Check out this page

Pianist Jorge Bolet Receives a “Strong” Welcome "A visiting pianist at Joint Senior High School expected polite applause and perhaps a wilted corsage. Instead, he was met by the school’s human brick wall: the school’s impressively built football team, captained by Buck “Brick” Donovan—owner of a jaw you could sharpen pencils on, shoulders that apparently require their own postcode, and a varsity sweater clinging on for dear life. His grin? Bright enough to make the stage ligh

New Zealand's Evening Post (11 March 1961) carries a text by Jorge Bolet on his preparation for the 1960 film (with Dirk Bogarde) ​ When William Goetz, the producer of "Song Without End " first approached me with the idea of portraying musically the great Franz Liszt , I must confess I received the suggestion with mixed feelings. ​ Naturally, I was enthusiastic at the opportunity to play the music of a man who had always been my artistic idol, but the offer had its terrifyi

I've added some reviews from Jorge's New Zealand tour of 1964 to the relevant page. Here are some clippings from the Evening Post .

Cuban Airs to Sound On Colorado Range? The Rocky Mountain News (Daily), November 27, 1944 The plaintive if slightly monotonous tempos of the West Indian calypso may leave their mark on the lustier folk music of western North America as an indirect outgrowth of the war. That opinion was voiced in Denver yesterday by Lt. Jorge Bolet, noted Cuban pianist and assistant military attache to the Cuban Embassy in Washington. Lieutenant Bolet is in Denver for an appearance with the D

Who knew? It cannot have been the full Die Walküre, as that would need to start much earlier than 7:30pm. It was given as a pantomime by a grils' summer camp with JB playing the piano score. Otsego Lake is a lake located in Otsego County in the U.S. state of New York. It is the source of the Susquehanna River and largest lake in Otsego County. The Village of Cooperstown is located at the lake's southern end. Glimmerglass State Park is located on the lake's northeastern shore