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There's a bit of drudgery leafing through masses of newspaper reviews, but it's worth it when you come across a jewel like this. 31 January 1971 (Sunday, 3pm) Fair Lawn High School, Fair Lawn, New Jersey, USA Beethoven: Piano Sonata No.31 in A-flat major, Op.110 Liszt: 12 Études d’exécution transcendante, S.139: 7. Eroica, 5. Feux Follets, 9. Ricordanza, 8. Wilde Jagd Chopin: 24 Preludes, Op.28 Encores: Schumann/Liszt: Widmung, Op.25 No.1 (S.566), Chopin: Waltz in D-flat major, Op.64 No.1 (Minute Waltz) ​​​ For The Record  (Hackensack, NJ) 1.2.1071 David Spengler wrote: 'These gems [Chopin's Preludes] are usually programmed in clusters of three or four, only as part of a pianists, romantic group. It was stumbling on treasure to find them gathered in the concert hall... Bolet achieves a rippling configuration in scale-work and arpeggios that I don't recall from any other pianists, particularly effective in his playing of the F sharp minor Prelude. 'And his presentation of the D minor prelude which closes the book (do you recall it from the old movie, The picture of Dorian Gray? ) was a massive gate of hell clanging shut.' The 1945 film adaptation of The Picture of Dorian Gray , directed by Albert Lewin, prominently features Frédéric Chopin's Prelude No. 24 in D Minor ("The Storm"), often played by the character of Dorian Gray to reflect his dark, deteriorating psyche. (I don't know it) In this MGM film, Dorian Gray (played by Hurd Hatfield) introduces the haunting Chopin piece to Sibyl Vane (Angela Lansbury).

Speaking in 1974 to Russell Harty

Jorge Bolet in the Syndey Morning Herald and The Age

A couple of clippings from Cincinnati newspapers October 1963

Jorge Bolet on Latin American music, as reported in the Oregon Daily Journal , 17 November 1962

Redwood City Tribune, 31 December 1960

Pianist Jorge Bolet Receives a “Strong” Welcome "A visiting pianist at Joint Senior High School expected polite applause and perhaps a wilted corsage. Instead, he was met by the school’s human brick wall: the school’s impressively built football team, captained by Buck “Brick” Donovan—owner of a jaw you could sharpen pencils on, shoulders that apparently require their own postcode, and a varsity sweater clinging on for dear life. His grin? Bright enough to make the stage lights file a formal complaint. "Fearing for the structural integrity of the guest’s livelihood (read: his fingers), Donovan and company delivered what they proudly dubbed “gentleman strength” handshakes—carefully calibrated somewhere between “cordial greeting” and “hydraulic press.” The pianist was then escorted to the stage with the kind of ceremony usually reserved for trophies and/or royalty. "Notably torn over the night’s true star striker was Donovan’s girlfriend, Daisy Whitmore, who appeared to be playing both flanks—caught squarely between the pianist’s slicked, glass-smooth hair (more polished than a perfectly weighted through-ball) and Donovan’s own sun-bleached crew cut, all grit and preseason form. In Uniontown, it seems even romance can go to extra time—and this one’s still level heading into stoppage. "The recital itself was a clean sweep on the scoreline, though a few squad members admitted they usually like their “chords” delivered with a whistle, a scoreboard, and ninety minutes on the clock. Still, their full-throated ovation shook the stands like a last-minute winner, leaving no doubt: in Uniontown, even the hardest-tackling—and frankly most camera-ready—footballers know how to put on a performance worthy of the highlight reel. Cyril K. Sterling, Uniontown Evening Gazette, 14 March 1961 Jorge Bolet's Baldwin piano in the hall, Joint Senior High School, Uniontown, Pa *Cine film courtesy of Mrs Walter E. Donovan Jr. (provided by her granddaughter)

New and very much "work in progress", a list of as many concerts of Jorge Bolet as I can find, 1926-1989. It's not a definitive list (that would be a tedious task), but hey...! In order to "clean up" the narrative pages of this website, I shall gradually delete a number of the concerts for which I have not included a review or interesting detail; thus, the Concertography pages will be the fullest account of Jorge's activity (though inevitably not complete - that would be a tedious task!) See link below the photo. Link

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