The Columbus Ledger (Georgia) devotes at least five articles to Jorge in October 1961

Jorge Bolet, Hochschule für Musik, Berlin, March 1961. "Only David Oistrakh received the sort of ovation this audience gave Mr Bolet, calling him again and again to the stage for more than half an hour after the concert." (Tagespiegel 31.3.1961) Of the Liszt festival in Berlin in August/September 1961: Spandauer Volksblatt (5 October 1961), "When something up after the end of the Festival Weeks, Jorge Bolet's piano, recital will remain as one of the strongest assets. He played Liszt entirely romantically, with singing touch and wonderful tone colourings, which seemed to evoke the world of Debussy. The brilliance of his technique is unbeatable, but this is not the main thing. The nobility of sentiment, depth of feeling and absolute beauty of his music making are simply overwhelming... The audience was ecstatic." Berliner Morgenpost: "The Cuban has conquered, a great audience of connoisseurs with a few recitals. He really conjures up the spirit of Liszt; the music hovers mysteriously in the atmosphere. The virtuoso Bolet is beyond the highest praise. A marvellous evening lifted the audience into ecstasy." (These reports are quoted in The Columbus Ledger, 19.10.1961)

Santa Barbara newspaper, January 1961

Red Rocks Festival of Music, August 1955

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Delighted confirm Jorge Bolet DID play in Chile (I had thought he hadn’t) June, 1983 in Chile, with Juan Pablo Izquierdo (born Santiago de Chile, 1935) and the Orquesta Filarmónica de Santiago in the capital's Teatro Municipal.  Again in 1984 (also June).  Full details added to the relevant page.

New Zealand's Evening Post (11 March 1961) carries a text by Jorge Bolet on his preparation for the 1960 film (with Dirk Bogarde) ​ When William Goetz, the producer of "Song Without End " first approached me with the idea of portraying musically the great Franz Liszt , I must confess I received the suggestion with mixed feelings. ​ Naturally, I was enthusiastic at the opportunity to play the music of a man who had always been my artistic idol, but the offer had its terrifying quality. I would have to play as the greatest pianist who ever lived had played, a task which could serve to make me only more aware of my own limitations. And yet I could not bring myself to turn down such an opportunity! I decided to accept.    After some deliberation,  I decided that in order to play like this man, I must first fully understand the emotions and thoughts which possessed him when he composed and performed his works. Thus, I embarked upon an ambitious reading programme designed to steep myself in as much of Liszt as possible — his music, his loves, his life, his times. I practically haunted the libraries and bookshops in a one-man campaign to completely absorb myself in the man, as much as the music. No college student ever crammed more for an examination!   In addition to his prolific writing and performing, Liszt was one of the greatest teachers in musical history, and I had the great personal advantage in my endeavours of having studied in my youth in Vienna under Moritz Rosenthal, who had been a pupil of Liszt. I also spent many worthwhile hours in Weimar atthe Liszt Museum, which contains his manuscripts, his personal correspondence, his music salon perfectly preserved as it was in his lifetime — in short, everything that was his life. At last I felt that I was ready and I began recording the sound-track of the picture. One immediate problem which I faced concerned the particular dramatic scene in which the musical piece was being performed. For example, was he before a dazzling audienee of the crowned heads of Europe? In a ballroom, or perhaps in an intimate salon, as was the popular fashion in his day? In his studio attempting to polish and perfect a certain piece? Or in the villa of his beloved Carolyne? And yet, to balance this problem I also had-to remember that Liszt was, in the final analysis, still Liszt, no matter where he performed, and that even when he played the compositions of other giants of music, he was first, last and always himself.   A difficult technical problem concerned the fact that everything I played was being simultaneously recorded on three separate sound-tracks. I had always to keep in mind that every flaw, no matter how seemingly insignificant, would be magnified a thousandfold. The most minute error in the playing meant a retake was necessary. And so it should be! Those five weeks in which I attempted to feel as Liszt felt, think as Liszt thought, and play as Liszt played, were equal in musical benefit to me to five years of concert playing.

I've added some reviews from Jorge's New Zealand tour of 1964 to the relevant page. Here are some clippings from the Evening Post .

Cuban Airs to Sound On Colorado Range? The Rocky Mountain News (Daily), November 27, 1944 The plaintive if slightly monotonous tempos of the West Indian calypso may leave their mark on the lustier folk music of western North America as an indirect outgrowth of the war. That opinion was voiced in Denver yesterday by Lt. Jorge Bolet, noted Cuban pianist and assistant military attache to the Cuban Embassy in Washington. Lieutenant Bolet is in Denver for an appearance with the Denver Symphony Orchestra next Friday under the baton of Franz Allers. Tall, handsome and with a rich voice in which there is not even a shadowy trace of accent, Lieutenant Bolet expressed the belief the current importation of Cuban, West Indian and Mexican agrarian workers will have a definite influence on Western music of the future. Cuban Music Waning “But turn about is fair play,” he added. “Hollywood writes a lot of primitive African stuff, puts it to Spanish tempo and calls it Cuban. It catches the fancy in Cuba. The result is that real Cuban music, the bolero, for instance, is on the wane in its own country. “A Cuban peasant sings about anything — a political uprising, a strike or abdication of a ruler. He puts his story to verses, usually 10 lines, called decimas. Like the calypso songs, they don’t have much tune, but they have a sort of plaintive appeal. These are the kinds of songs that are invading particularly the Western United States.” To illustrate his point, Lieutenant Bolet sat down at a piano in one of the KOA reception rooms and played a Cuban folk song. There was a striking similarity to some popular American songs of the range. He will play Schumann’s Concerto and a group of Latin American compositions with the Denver ‘Symphony Orchestra at its third winter concert in City Auditorium Friday evening.

Who knew? It cannot have been the full Die Walküre, as that would need to start much earlier than 7:30pm. It was given as a pantomime by a grils' summer camp with JB playing the piano score. Otsego Lake is a lake located in Otsego County in the U.S. state of New York. It is the source of the Susquehanna River and largest lake in Otsego County. The Village of Cooperstown is located at the lake's southern end. Glimmerglass State Park is located on the lake's northeastern shore, and includes Hyde Hall, a large mansion constructed in 1817, that overlooks the lake. The Glimmerglass Opera, opened in June 1987, is located on the western shore. The Glimmerglass, 28 July 1937 reports:

Jorge in cheerful mood entering the green room in the Philharmonie, Berlin before what turned out to be his last recital. (Photo: Mattheus Smits)

Jorge's masterclass in Edinburgh (early 1980s). "If my memory is correct, the masterclass took place in a school next to the Royal Botanic Gardens at Arboretum Road. Left from Jorge can be seen Elisabeth Kittel, right from Jorge you can see me [Mattheus Smits]; the small group at my right is of some of the students. If I am not mistaken, the student on my right-hand side is Santiago Rodriquez who became an important pianist." Photo: Mattheus Smits Elisabeth Kittel (1925-2020), who was born in Augsburg, Germany, was a friend of Jorge and helped arrange some of his concerts in Europe. 'Elisabeth was a sponsor of the international summer academy at Count Schönborn's Weissenstein Castle in Pommersfelden from the very beginning. Young music students from all over the world would meet there for four weeks. Some of them played in an orchestra for the first time, others had their first solo performance there. Today, Elisabeth's grand piano is at Weissenstein Castle for student practice.' (Martina Schulz, from a blog by Sergio Cardenas)​ Santiago Rodriguez (born February 16, 1952) is a Cuban-American pianist. He was born in Cárdenas, Cuba, and began piano studies at age four with Nelson DeBerge. When Rodriguez was eight years old, he and his brother became part of Project Peter Pan, a project sponsored by Catholic Charities which brought Cuban children to America during Fidel Castro’s regime. Although his parents originally thought that they would be quickly reunited, it took six years for the parents to immigrate to America. He continued his piano lessons while living in the orphanage in New Orleans supported by money that his mother had sewn in his coat. When he was ten years old, Rodriguez debuted with the New Orleans Symphony Orchestra performing Mozart's Piano Concerto No. 27. Rodríguez has enjoyed a very successful performing and recording career and is currently the Chair of the Keyboard Department at the University of Miami's Frost School of Music. (Wikipedia) "During 1980-1981 Baldwin recorded LPs with six of their associated pianists (David Bar-Illan, Jorge Bolet, Gilbert Kalish, Ruth Laredo, Santiago Rodriguez & Earl Wild) intended to be given away by their dealers to buyers of Baldwin pianos. These recordings hence weren’t commercially available in the traditional sense, unless you didn’t mind getting a piano along with the discs..." (Christian Johansson)