A gem of a review, but from Bern not Lucerne (as advertised)

Early in the new year, Bolet had been on tour in Central America/Caribbean. A passenger manifest shows that he arrived in San Juan,...

Online Polish newspapers have revealed a few more of their secrets about Bolet's tour in May/June 1961. New cities and dates have been...

Jorge Bolet's recital in Windhoek, South West Africa was actually on 2 February, not 6th, so there is some mixup in his datebook. The Windhoek Advertiser (16.1.76) reported that there was a strong possibility theatre-goes would boycott the recital of the 'Cuban pianist' as they felt strongly about Cuban involvement in Angola 'and seem to resent the fact that a Cuban pianist is going to appear in the Windhoek Theatre. In an interview this morning Dr E Grobbelaar, Director o

In Clarín , 25 July, 1979, Jorge D'Urbano - who had reviewed Jorge's first appearance in Argentina in June 1955 - wrote: 'Jorge Bolet is a virtuoso pianist. This does not mean, in any way, that he lacks musicality. But his specific definition is that of a virtuoso, that is, capable of mastering the piano so completely that everything else fades into the background. He is capable of true pianistic feats, and has to his credit that these seem not to be a process at all, as

Jorge Bolet's only appearance in the fabled opera house in Buenos Aires was on Saturday, 21 July 1979. The programme consisted of Bach/Busoni Ciaccona, Liszt's Sonata in B minor and his Transcendental Études 7, 6, 12, 9 and 8. The Colón was performing an early opera by Verdi, I due Foscari (premièred on Tuesday 17th - it had first been performed there in 1850). The Argentinian paper of record La Nación seems not to have carried a review of JB's recital (so far as I can s

I've been looking at The Rhodesia Herald in the British Library. Quite a hard-hitting, critical review. Having now to get used to reading microfilm, which I've only used a few times before. The Rhodesia Herald (13 February) had a short article expressing surprise that TWO visiting pianists should be giving recitals within 7 days of each other. 'Most promoters would try to avoid such near-clashes if possible.' (Israeli pianist Joseph Kalichstein was the other.) This i