Jorge Bolet's Liszt reaches Uruguay

I recently found a review of volume 1 of the Liszt series for Decca in a Uruguayan paper which I have added below

Opinar (1 July 1982) reports of a concert in Montevideo, Uruguay (Saturday 12 June, in the Teatro Solís) with Brazilian conductor Isaac Karabtchewsky (born 1934) and the Sodre Symphony Orchestra, the national orchestra. 'The great Cuban-American pianist was at the second concert conducted by Karabtchevsky. He belongs to that category of pianists who continue the tradition of brilliant virtuosity. For this reason, he is considered a Liszt specialist, although in reality he is a first-class interpreter of different musical languages ​​and styles. He performed Concerto No. 2 and the Hungarian Fantasia for piano and orchestra, both Liszt compositions. Two unhappy works by the Hungarian, empty, repetitive, uninspired—except for some rich passages—but technically dazzling. Only Bolet's great skill allows one to listen to these works with any interest.'  Stravinsky' Rite of Spring was the other work, and the reviewer was delighted with the conductor's handling of the orchestra in a work that had pervasively seemed 'impossible for our orchestra. Let him come back!'

Karabtchevsky has recorded the complete symphonies of Heitor Villa-Lobos with the Orquestra Sinfônica do Estado de São Paulo (Osesp).  No other notice of Jorge playing with him (so far).

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In a review of volume 1 of the new Liszt series (issued in Britain in March 1983), the Uruguayan journal La Democracia (28 November 1986) wrote: 'Jorge Bolet.  Few play Liszt like him.  This Cuban pianist, a naturalised American citizen, who must be nearing seventy-six years old, was discovered by Uruguayans practically in this decade (starting with his performance with the Orquesta Sinfónica del Sodre in 1982 of Liszt's Piano Concerto No. 1).

[In actual fact, Jorge had played first in Uruguay on 10 July 1979 at the Teatro Solís, Montevideo, and possibly again in May 1980.]

Although originally released in 1982, this first [volume]... processed and distributed by Sondor appears in Uruguay on the centenary (1986) the death of the brilliant composer.

From that live experience - plus all the known phonographic recordings - there is the conviction that Bolet plays Liszt as few do or have ever done.  His control of the sound planes (los planos sonores) is admirable, as are his delicacy and refinement. Bolet does not flaunt virtuosity, preferring musicality. This is evident in the firmness of the touch, the timbral richness, the constant emphasis on structure in pieces like Mephisto or Funérailles.  Although somewhat belatedly, he must be recognised as one of the best pianists of our time.'