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 if they were nothing more than the work of a good mechanism.
'The compositions he performed do not seem to be too profound, but at no time do they border on vulgarity or triteness (lo trillado). He approaches them seriously and extracts from them everything he is capable of obtaining.' The writer is unimpressed by Busoni's work: 'Everything that means Bach has been discarded...We have already protested every time a pianist resorts to this transcription. But the result [in Jorge's hands] was impressive. The B minor Sonata was approached by Bolet with a curious lack of exhibitionism and with a certain intimacy, if this can be said of that Sonata. In general, the line was maintained (and everyone knows how desperately difficult it is to maintain the line of this Sonata) and Bolet moved through it with good stylistic judgement, because if there is anything this pianist knows, it is the music of Liszt. Each of the Études had character, with a strong dose of temperament and vitality.
'It seems that Harold Schonberg, the critic for The New York Times, said that "Jorge Bolet's recitals were the highlight of the 1977-78 season". We do not doubt that the quote is correct. We are a little perplexed, however, that Schonberg, who sees the world's greatest piano players perform in New York, has clearly exaggerated his rating this time. Because Bolet is a good player, but we do not believe that he is by far the best.'