6 April 1958 (Sunday, 11am) Teatro Auditorium, Havana, Cuba Mozart No.24 in C minor, K491, Schumann, Rachmaninoff 3 Orquesta Filarmónica de la Habana/Alberto Bolet ​​ Jorge's nephew Samuel Bolet described the concert to me in c.2010/11: 'Memories? I could share a torrent, even going back to my youth sitting in Havana's Auditorium flanked by grandma, my folks and others applauding the two uncles (Alberto conducting the Filarmónica, and Jorge at the piano). 'One unforgettable p

Diario de la Marina notes (22 May 1958) that after a tour of 7 months in the USA, Jorge has returned to Cuba on a flight of Viscount de Cubana Aviación from Miami. ​ Cubana de Aviación operated the Vickers Viscount (a British four-engine turboprop airliner) in the late 1950s, becoming the first Latin American airline to fly them. Cubana integrated the Vickers Viscount into its fleet starting in 1956 to modernise service on regional and international routes (replacing older Do

Recital/Klavierabend 20 May, 1959, leaflet 23 May 1935, during European début

Democracia, 6 & 7 June 1955 Avenida Corrientes (where Gran Teatro Broadway was) and a corner of the Plaza de Mayo in 1955.

7 May, 1950 Teatro Nacional, Havana Recital incl. Beethoven's Sonata in D minor ("Tempest"?), Franck, Prelude, Chorale et Fugue & some Mendelssohn, ending with Strauss/Godowsky "El Murciélago"(Fledermaus Waltzes) Diario de la Marina, 11 May 1950 Jorge Bolet Reveals Himself as a Virtuoso in His Full Maturity The brilliant pianist played Chopin as few have managed to do in his recent concert *A spirited review by Nena Benítez Last Sunday, May 7th, in the morning, we attended an

It's odd how I suddenly get "a bee in my bonnet" about issues I hadn't really considered before. One of them is Jorge's relationship with Abram Chasins (1903-1987), to which I have turned again after reading something by Jonathan Summers in his notes for the recent First Hand Records CD release of Bolet's Ambassador Auditorium recitals. (I also hadn't fully appreciated AC's Curtis connections before.) 'After Bolet gave a Carnegie Hall recital in 1951 [3 April] critic Howard

1914 Born Havana, Cuba on 15 November to Antonio Bolet Valdés and Adelina Tremoleda de la Paz. c.1925/1926 Aged about nine or ten, Jorge played in the old-fashioned salon in Havana of Mrs Amelia Solberg de Hoskinson. 1926 13 August: first of two benefit concerts for the young Jorge in the Teatro Principal de la Comedia (organised by Maria Jones de Castro) 1927 4 September: second of two benefit concerts for the young Jorge in the Gran Teatro Nacional, Havana. Organised by Am

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

Santa Fe New Mexican, 6 March 1959. The paintings in his Washington Square New York address.

A newspaper amusingly reported a few of the pianist's pet hates: playing strange pianos, especially upright pianos in high schools, non-mixing bathroom taps (faucets), Rossini, peanut butter, mint in any form including toothpaste, Berlioz. The High Point Enterprise, North Carolina, 24 February 1954 Full disclosure: I like both Rossini and Berlioz. Mattheus Smits, a friend of JB, has told me: "Jorge knew the translation of 'onions' in many languages. When ordering meals in G

Res Gestae: The Stony Brook School Yearbook 1955 records a rectal by Jorge at his old high school on Long Island (Class of 1934) on 14 October with a well-meaning but less than flattering entry: 'Jorge Bolet, Cuba's answer to Liberace, gives dazzling performance; but even more dazzling are the thirty-eight Knoxers.' The reference is to The Knox School (female boarding and day school on the north shore of Long Island), whose students presumably also attended the recital. On

Red Rocks Festival of Music, August 1955

Very interesting section added, after I found an article by JB in Etude, November 1951. Once you are on your way, artistic abstractions become merged with time schedules and possible emergencies. You can't count on practising. Your pianistic equipment must be in such condition that you can play without practising. The average tour covers about three concerts a week, in different towns, some near each other, some not. You move by train, by bus, by car, by plane. If all goes we