Jorge Bolet, Uruguay May 1980

A newspaper review dated 26 May 1980 mentions a concerto with Armando Krieger and the Orquesta Sinfónica del Sodre (in Montevideo, Uruguay). It featured Uruguayan composer. León Biriotti's Symphony No. 3, "in memoriam Lauro Ayestarán" and Jorge playing Rachmaninoff 3

This score, which is important, dates back some 12 years (1968) and is only now being considered. The symphony, over 20 minutes long, masterfully utilizes rhythms and sound textures (it features a very rich percussion section: tom-tom, wood block, marimba, cymbals, triangle, vibraphone, bass drum, gong, celesta, plano, timpani, and bells, employing a total of seven instrumentalists for this section alone, in addition to the full orchestra) and culminates in a non-literal, but distinctly pronounced, evocation of Montevideo's candombe—reminiscent of some of Lauro Ayestarán's works—which closes the piece with verve and splendor. It was very well received, which is encouraging, although Biriotti's aesthetic is currently taking a different path than that of the more or less traditional symphony.

'At that same concert, one had the opportunity to witness a true master of the piano: the Cuban-American Jorge Bolet. A legendary and towering performer, over 60 years old, with supernatural drive and touch, at the highest possible level. Bolet's generous sound and digital precision shone in a work like Rachmaninoff's Third Piano Concerto, Op. 30, which seems written specifically to exhaust pianists and dazzle the audience. Yielding to the audience's fervor, Bolet granted two sentimental pieces as encores (Rachmaninoff and Moskowski) that sounded like music simply because they were played by this pianist.

'The case of Jorge Bolet is instructive, for, on the surface, we are faced with a formidable performer who knows—or doesn't want to know—nothing about musical progress or the evolution of the art of performance. He is a genius of the piano, but perhaps, paradoxically, not a great artist. The choice of his programmes (last year he gave an incredible Liszt Festival performance, which thrilled everyone present, including this writer), and the two encores show a remarkable performer who lacks a historical sense in his selection of works. Thus, Bolet belongs to a species on the verge of extinction. He is multifaceted (?), despite his quality as a soloist.'

As can be seen from this bird's-eye view, in a short time, we were presented with instances of complex interpretation, each with its own merits. A little-known composer (Bruckner), a visiting ballet that disappointed, the confirmation of a great artist (Lukas Graf), and the highs and lows of another celebrated name (Jorge Bolet) alongside a premiere by Biriotti. The Symphony No. 3, which is interesting for many reasons, beginning with being a national work, offered something for everyone.

Carlos Gasset, La Semana de El Día N° 72, 31-may-1980

Spanish: En ese mismo concierto se tuvo ocasión de contemplar un monstruo sagrado del piano. El cubano-estadounidense Jorge Bolet. ejecutante legendario y gigante, de más de 60 años, con un impulso y "tocco" sobrenaturales, al mejor nivel possible. El generoso sonido y la pulcritud digital de Bolet pudieron lucir en una obra como el Tercer Concierto op 30, de Rachmaninoff, que parece escrito a propósito para matar pianistas y deslumbrar al público.

Cediendo al fervor del auditorio, Bolet concedió dos ñoñerías como bis. (Rachmaninoff. Moskowski) que parecieron música por ser hechas por este pianista. El caso de Jorge Bolet es aleccionante. pues, en apariencia, estamos ante un intérprete formidable que no sabe—o no quiere saber— nada referente al progreso musical o sobre la evolución del arte interpretativo. Es un genio del piano, pero tal vez. paradójicamente, no un gran artista. La elección de sus programas (el año pasado hizo un Festival Llszt Increíble, que entusiasmó a todos los presentes. incluido quien escribe), y los dos bis muestran a un notable ejecutante que carece de sentido histórico en la elección de las obras. Así que Bolet se inscribe dentro de una especie en vias de extinción. a varias puntas, a despecho de su calidad como solista.

Como podra apreciarse en esta vista a vuelo de pájaro, se estuvo, en corto tiempo, ante instancias de interpretación compleja, todas con su qué ver. Un autor poco difundido (Bruckner). un ballet visi tante que defraudó, la confirmación de un gran artista (Lukas Graf) y las luces y sombras de otro nombre célebre (Jorge Bolet) al lado de un estreno de Biriotti. La Sinfonía N° 3. que interesa por muchos motivos, comenzando por ser una obra nacional Hubo para todos los gustos.