This list does not include Cuba. See also 1936-58 1974 In late 1974, Jorge was one of the judges on the Concurso Latinoamericano de Piano Teresa Carreño in Caracas, Venezuela. He made a number of concert appearances in Caracas. 1975 17 September 1975 São Paulo, Brazil Recital 19 and 21 September 1975 Teatro Municipal de São Paulo, Brazil Rachmaninoff's Paganini Variations OSESP (Orquestra Sinfônica do Estado de São Paulo) under Gerard Devos ​ 23 September 1975 [?] Rio de Janeiro, Brazil recital 26 September 1975 Teatro Coliseo, Buenos Aires (Argentina)​ Bach/Busoni, Chopin, Strauss and Wagner-Liszt. 29 September 1975 Teatro Coliseo, Buenos Aires (Argentina) incl.Chopin's Sonata No. 3 in B minor Op.58 and the Mozart/Liszt Don Juan Fantasy ​​​ 30 September 1975 [?] Buenos Aires (Argentina) Liszt 1 and 2 1977 15, 16 January 1977 Jorge's date book notes rehearsals ("ensayos") in Caracas, Venezuela 14 March 1977 Teatro Tapia, San Juan, Puerto Rico Haydn, Sonata No. 62 in E-flat major, Hob. XVI/52, Schumann's Carnaval Op.9 and Liszt (Petrarch Sonnets, Don Juan Fantasy). It looks as if his previous appearance on the island was way back in October 1958. There was a tour of Central (and possibly South) America in July 1977. On Saturday 2 July, Bolet left for Mexico on AeroMéxico. 8 July 1977 Palacio de Bellas Artes, México City Haydn sonata in E flat major, Schumann’s Carnaval, Liszt’s Sonnetti di Petrarca and Don Juan fantasy. 11 July 1977 (a date of the 5th is also given) Teatro Degollado, Guadalajara (Jalisco, Mexico) recital (replacing an indisposed fellow Cuban Horacio Gutierrez) In a concert during this week (beginning 3rd June; Mexico City), Jorge replaced Polish-British-Canadian violinist Ida Haendel (1928-2020) who had cancelled due to the death of her mother. 'In her place the Cuban pianist Jorge Bolet played Liszt's First Concerto. The concert was with the Filarmónica de las Americas under Polish conductor Stanisław Skrowaczewski, and was completed with Bartok's Miraculous Mandarin [A csodálatos mandarin, Op. 19, Sz. 73 (BB 82)] and Tchaikovsky's fourth symphony in F minor.​ Jorge flew back on Saturday 9th to San Francisco. Was this flight (noted in his date-book) changed to accommodate the recital on 11th in Guadalajara? Or was the recital actually on the 5th? November 1977 (?): Teatro Tapia, San Juan, PR 1978 In July 1978, there was a trip to Brazil for concerts. He took an American Airlines flight on Monday 3 July at 8.30pm, arriving Tuesday morning in Rio de Janeiro.​​​​​​​​​​​​​ ​​6 July 1978 Sala Cecilia Meireles, Largo do Lapa, Rio de Janeiro Funerailles and the 12 Transcendental Etudes 8 July 1978 Palacio Boa Vista, Campos do Jordão, Brazil Liszt’s Consolations 1and 2, the B minor Sonata, Petrarch Sonnets 47,104 and 123 and Mozart/LIszt Reminiscences , f Don Juan (as part of the Winter Festival) 10/12 July 1978 Casa de Manchete/ Teatro Cultura Artistica, São Paulo, Brazil 2 recitals On Thursday 13 July, Jorge flew on American Airlines flight 251 to Buenos Aires, Argentina, but does not appear to have played in that city in July [?]. On Sunday 16 July, he flew on AA370 to Mexico City (masterclasses on 18, 20 and 21). He presumably gave concerts; his date book mentions Tepotzotlán, 25 miles north-west of Mexico City. Jorge told Lisa Battle of The Columbus Ledger (6 March) that an impresario wanted to display his photography in concert halls during the Mexican tour. 12 November 1978 Mexico City, Mexico Rachmaninoff's Third Concerto Orquesta Filarmónica de la Ciudad de México and Polish conductor Andrzej Markowski (Jorge had performed with Markowski in Poland in 1961). But the Baldwin piano had not been secured and crashed off the stage, so no concert. 1979 In June/July 1979, Jorge was in Argentina and Uruguay. He flew on 18 June to Buenos Aires. His date book mentions repertoire (see below but also: Chopin, Barcarolle, Fantasy in F minor Op.49, Sonata No.3, Ballades, Rachmaninoff's third concerto and Weber's Konzertstücke) ​10 July 1979 Teatro Solís, Montevideo, Uruguay 21 July 1979 Teatro Colón, Buenos Aires, Argentina (JB’s only appearance in this fabled venue) Bach/Busoni Ciaccona, Liszt's Sonata and his Transcendental Études 7, 6, 12, 9 and 8. 1980 A newspaper review dated 26 May 1980 (so concert earlier) of a concerto with Armando Krieger and the Orquesta Sinfónica del Sodre (in Montevideo, Uruguay)? 26 May 1980 National Theatre, Panamá City, Panamá Recital 12 June 1980 Teatro Nacional, San José, Costa Rica Beethoven, Piano Concerto No. 4 in G major, Op.58 Conductor Agustín Cullell Heterofonía 70, México (July-September 1980) mentions that JB performed Liszt 1 and the Hungarian Fantasy in Mexico City with the Orquesta Sinfónica Nacional under Guatemalan conductor and composer Jorge Sarmientos 1981 4 & 6 June, 1981 Sala Nezahualcóyotl., Mexico City Brahms, Piano Concerto No.2 in B flat (?) Enrique Diemecke and the Orquesta Filarmonica de le UNAM (Universidad Nacional Autónoma de México) 15 October 1981 [originally 18th?] Teatro Degollado, Guadalajara (Jalisco), Mexico Rachmaninoff, Piano Concerto no. 2 in C minor Op. 18 Conductor: Hugo Jan Huss 20 November 1981 Teatro Nacional Eduardo Brito, Santo Domingo, Dominican Republic Mendelssohn, Schumann, Schubert & Liszt In El Caribe (12.11.1981), Lamela Geler stated that Jorge visited Santo Domingo in the early 1950s and played in the Teatro Olimpia, under the auspices of Sociedad Pro Arte. Now he gives a second recital in Santo Domingo. 1982 Jorge's itinerary states that 1-15 June 1982 had been reserved for Mexico. His date book notes a flight from New York to Mexico City on 31 May 1982. 5/6 June 1982 Lima, Peru? 7/6 June 1982 Santiago, Chile? 12 June 1982 Teatro Solís, Montevideo, Uruguay Liszt, Concerto No. 2 in A major & the Hungarian Fantasia Brazilian conductor Isaac Karabtchewsky & the Sodre Symphony Orchestra, the national orchestra 15 June 1982 São Paulo, Brazil *On 16th he flew from Brazil to New York. 13 November 1982 Sala René Marqués of the Centro de Bellas Artes, San Juan (Puerto Rico) Rachmaninoff, Piano Concerto no. 2 in C minor Op. 18 Orquesta Sinfónica de Puerto Rico/ John Barnett ​ Cristobal Diaz writing in El Mundo 7.11.82 recalls an unforgettable night at the Teatro Tapia in November 1977, which seems to be when he last heard Bolet in San Juan, or it may be the last time JB performed in the city. 1983 14 /16 June 1983 Teatro Municipal, Santiago de Chile, Chile Rachmaninoff, Concerto No. 3 in D minor Op.30 Juan Pablo Izquierdo and the Orquesta Filarmónica de Santiago ​ There's some confusion as the season schedule lists Tuesday and Thursday 14/16 June 1983 as conducted by Franz Paul Decker; the Rachmaninoff is there but it's framed by Hindemith's Mathis der Maler symphony and Richard Strauss's Rosenkavalier Waltzes. Indisposition? 23 July 1983 (Saturday) Arequipa, Peru Schumann, Fantasiestücke Brahms, Handel variations Liszt, Petrarch Sonnets & Hungarian Rhapsody No.12 *Birthplace of Peruvian author and Nobel Prize winner Mario Vargas Llosa (1936-2025) 25 July 1983 Lima, Peru Orquesta Sinfónica de la Escuela de Música/ Peruvian conductor Armando Sánchez Málaga 29 July 1983 Cine-Teatro Embaixador, Gramado (Rio Grande do Sul), Brazil Schumann, Fantasiestücke Brahms, Handel variations Liszt, Petrarch Sonnets & Hungarian Rhapsody No.12 30 July 1983 Gramado (Rio Grande do Sul), Brazil Schubert's Trout Quintet [?] with cellist Peter Dauelsberg and violinist Viktoria Mullova 31 July 1983 Gramado (Rio Grande do Sul), Brazil Brahms 2 Orquestra Sinfônica de Porto Alegre, presumably under Eleazar de Carvalho 1984 Claudio Arrau returns to Chile, May 1984 Arrau made a 15-day tour of his homeland Chile, arriving on Thursday 10 May, after a 17-year absence. On Friday 11 May, there were rehearsals with conductor Juan Pablo Izquierdo and the Orquesta Filarmónica de Santiago at the Teatro Municipal, whilst anti-government street protesters clashed with police forces resulting in one 18-year-old dead and 170 arrests. In June 1984 there was a tour (?) of South America; Jorge Bolet flew from San Francisco to Miami on 1 June and then on LAN Chile LA141 to Santiago. 5 June 1984 Teatro Municipal, Santiago, Chile Liszt 1 & 2 [?] Orquesta Filarmónica de Santiago/ Simón Blech (1924-1997, Polish-Argentinian) 11 June 1984 Teatro Cultura Artística, São Paulo (rua Nestor Pestana 196), Brazil Rachmaninoff, Concerto No. 2 in C minor Op.18 Orquestra Sinfônica do Estado/ Eleazar de Carvalho 13 June 1984 Porto Alegre, Brazil 19 June 1984 Lima, Peru

This list does not include Cuba. See also 1974-84 In El Caribe (12.11.1981), Lamela Geler stated that Jorge visited Santo Domingo (Dominican Republic) in the early 1950s and played in the Teatro Olimpia, under the auspices of Sociedad Pro Arte. Now he gives a second recital in Santo Domingo. She goes on to state: 'Conocido mayormente en Europa y los Estados Unidos, ya que sus incursiones en América Latina han sido escasas, su repertorio está constituido por el total del material importante y difícil escrito para el piano.' (Known mostly in Europe and the United States, since his forays into Latin America have been few, his repertoire is made up of all the important and difficult material written for the piano.) 1936-39 We are told of recitals/concerts in the Caribbean and in Mexico, Guatemala and the Dominican Republica Dominicana during 1936-39 1946-47 After his discharge in September 1946, Bolet began to tour Mexico, Central America, the West Indies and South America. The tour began on 22 September 1946 and would keep him busy until mid-December. He had been flown back from Japan (where he had conducted The Mikado, August 1946) at the request of Columbia Concerts. He also gave frequent performances in Havana - solo recitals and concertos with the Havana Philharmonic. ​ Musical America noted that Bolet was again on tour in Mexico and Cuba in February 1947. ​The Gazette and Daily (York, Pennsylvania, 2 June 1947) reported that Jorge had 'recently returned from a Latin American tour which took him as far south as Guatemala and included a 10-week radio engagement in Mexico City.' 29 January 1947 Teatro Capitolio [1925; on Calle Arzobispo Meriño], Ciudad Trujillo (present day Santo Domingo) Dominican Republic Mozart's Fantasy & Fugue in C major, Beethoven's Les Adieux, Franck's Prelude Choral and Fugue, a suite (1940) by Norman dello Joio and his Prelude For A Young Musician (1944); Liszt's Mephisto Waltz. [El Imparcial was a major daily newspaper active during the 1940s in Guatemala: British Library MFM.MF1384] July 1948 Mexico? The Sioux City Journal 26 September 1948 announces JB is back in the USA after tours of Canada and Latin America ​ 11 March 1949 Teatro Degollado, Guadalajara, Mexico Gershwin's Rhapsody in Blue with Leslie Hodge and the Guadalajara SO. 27 April 1949 Havana incl. Piano Sonata in A minor, D 784 (Schubert) and Sergei Prokofiev's Piano Sonata No. 8 in B♭ major, Op. 84. We are told in a newspaper report of this concert that Jorge will make his first appearance in the Teatro de Bellas Artes, Mexico City. On 4 December 1949, the San Angelo Standard (Texas) states that 'Bolet comes to San Angelo from a seven-month tour of Latin America and Canada. He performed with Erich Kleiber and the Havana Philharmonic and presented 12 half-hour radio programs from Mexico City with the symphony under Jose Sabre Marroquin.' 1950 Fresh from an engagement (3 concerts) in Caracas, Venezuela - mostly likely in the Teatro Municipal, arranged by the Asociación Venezolana de Conciertos; he had flown back on February 14. Jorge performed Rachmaninoff 3 with Howard Mitchell in Constitution Hall, Washington DC on Wednesday 15 February 1950. October 1950 Teatro Colón, Bogotá (Colombia)? 7 November 1950 Cine Victoria/ Victoria Theater, Ciudad Juárez, Chihuahua (Mexico) Recital 1953 Early in the new year, Bolet had been on tour in Central America/Caribbean. A passenger manifest shows that he arrived in San Juan, Puerto Rico on 7 February 1953 on Pan Am World Airways flight 204 from Caracas, Venezuela (Maiquetia, the airport south-east of the city); his ultimate destination was San Francisco. 3 February 1953 Teatro Municipal, Caracas, Venezuela Concerts in honour of José Martí (b.1853), who is considered a Cuban national hero because of his role in the liberation of his country from Spain. Beethoven [Andante favori ?], Brahms [Intermezzo Op.119 No. 3 in C , Rhapsody Op.118 No. 4 in E flat] , Liszt's Sonata & Mephisto Waltz, Chopin [7 Preludes & Ballade No. 3 in. A flat] and Rachmaninoff 6 February 1953 Teatro Municipal, Caracas, Venezuela Schumann, Concerto Rachmaninoff, Rhapsody on a Theme of Paganini Orquesta Sinfónica Venezuela/ Ángel Sauce 1955 A report in The New York Times, 26 May, 1955 informs us that ‘Jorge Bolet, pianist, leaves today by air to play a series of eighteen concerts in Brazil and Argentina'. 30 May 1955: Teatro Municipal in Rio de Janeiro Recitals were then given in the Teatro Cultura Artistica, São Paulo on 31 May/1 June. ​ Other destinations in Brazil included Porto Alegre. In Argentina, Jorge appeared first in Buenos Aires. The Asociación Wagneriana had organised his recital at 9:45pm on Monday 6 June at the Teatro Broadway, 31 May/1 June 1955 Teatro Cultura Artistica, São Paulo (Brazil) Other destinations in Brazil may have included Porto Alegre 6, 7 June 1955 Teatro Broadway, Avenida Corrientes, Buenos Aires (Argentina) Jorge added "Gato" (1940), a lively, syncopated dance by an Argentinian composer Carlos Guastavino (1912-2000) to his programme, for a bit of local colour. The Latrobe Bulletin (3.10.1955) said that he played both orchestral and recital engagements. Jorge may have performed in Córdoba and Rosario (El Círculo), the next two most populous cities in Argentina. Other cities may have included: ​ San Miguel de Tucumán (Teatro General San Martín), Bahía Blanca (Teatro Municipal), Asociación Cultural de Bahía Blanca, Mendoza (Teatro Avenida [1926-1988]), La Plata (Teatro Argentino), Mar del Plata (Teatro Auditorio). 7 October 1958 Theatre of the University of Puerto Rico, San Juan PR. Haydn (Sonata No.62 in E-flat major, Hob.XVI:52), Franck (Prélude, choral et fugue [1884]), Chopin (4 Scherzos).

Hercules Late November 1966 Herkulessaal, Munich Chopin, Ballades; Liszt Sonata, Mephisto Waltz (& encores) Although already 53 years old, Jorge Bolet has only been heard here once before, stepping in for a colleague in an orchestral concert. Now he appeared in the Herkulessaal in his own piano recital, tall, powerful, with a graying mustache. First impression: A gentleman, a caballero. Second: Also a nobleman of pianism. He plays the four Chopin Ballades. Every note that now emerges from the Bechstein, every touch, every pedal stroke, all degrees of an infinitely variable dynamic scale, every slightest tempo change, the crystal-clear, meticulously human and deeply felt technique that rivals the infallibility of a pianola – all this is the result of an extraordinary high culture of pianism. When one thinks of Bolet's Chopin, one doesn't picture the shivering, coughing composer, threatened by hemorrhages. Jorge Bolet's portrayal of the Ballades is a single, grand, masculine, serious, and mature act of passion. His playing pulsates with emotion and often arouses (and excites) to the point of rapture, yet it is always a genuine, measured, and masterfully controlled Chopin rendition, possessing the most sensitive understanding and delicacy even for the sometimes effeminate melodies of the great Polish composer. Bolet understands how to let the basses growl softly like dangerous beasts after the sumptuous lyricism. Then, at the respective shifts from the legendary tone to the harshly ballad-like, he pounces like a puma with lightning-fast swipes at the presto agitato, resulting in the most gripping outbursts of unyielding force and grandly pathetic intensity. This consistently convincing Chopin playing, despite its highly personal character, is virtually unparalleled. The second part was dedicated to Franz Liszt. I thought the great rhapsodist Liszt would have a hard time competing with the elegant Chopin. But I was wrong. With Liszt's rarely heard only sonata, which surpasses all of this titan's other piano works, Bolet conveyed a sense of the immense heights of Liszt's piano artistry. When he literally conjured the thunderous bundles of octaves from his sleeve and, with the incomprehensible skill of a magician, made all the bewildering and enchanting piano subtleties first conceived by Liszt sound, one might have thought that a god Shiva with a multitude of arms and hands must be at work. But it was always only this one, perfectly courteous and modestly smiling, unassuming gentleman in a tailcoat, who accomplished all this and more. For now, following Liszt's monstrous work, came the ultimate in pianistic bravura: the "Mephisto Waltz." This satanic keyboard dance unleashed such a storm of applause that Bolet had to play a whole third part of Liszt's eccentricities. He played songs! Songs whose purely pianistic rendering Liszt had once helped the song masters achieve great popularity: Schubert's "Wohin?" and "Ständchen," Schumann's "Widmung," and Chopin's "Mädchens Wunsch." This dolcissimo of song lyricism, adapted to the cantabile possibilities of the pianoforte, performed by Bolet with a wonderfully singing touch, has put many a disastrous song performance far in the shade. Anyone who still speaks of the misappropriation of song literature hasn't heard Bolet. And believe it or not: he also added the enormous Hungarian Rhapsody No. 12 with friendly serenity/ composure. Edmund Nick, Süddeutsches Zeitung, 1 December 1966

Jorge Bolet began his major return to the UK in 1977. Edward Greenfield's review is very complimentary. 17 February 1977, Thursday (he was aged 62) Queen Elizabeth Hall, London Haydn, Sonata in E flat (No.52), Telemann/Reger, Liszt 3 Concert Studies, Don Juan Fantasy Jorge was generous with encores. Chopin: Nocturne in F minor, Op.55 No.1, Moszkowski: La Jongleuse, Op.52 No.4, Chopin/Godowsky: Etude in G-flat major, Op.10 No.5 (Study No.7 in G-flat major), Liszt: Valse-Impromptu, S.213 and Saint-Saëns/Godowsky: The Swan (from Carnival of the Animals). Dr G. de Koos & Co. Management organised the concert - the company had handled JB's first European tour in 1935. Jorge hadn't been completely absent from the UK in the 1970s, cf. March 1973 (Birmingham) Oct/Dec 1974 (London), but these few events had been orchestral concerts. But it was in 1977 that he he was to have a big, possibly his biggest break - with a long-term record contract for a major international label, Decca; this was to bring him the fame he had sought for so long. ​ Edward Greenfield in The Guardian : 'Some years ago they issued records of the legendary pianist Josef Hofmann made from the piano rolls he cut in the 1920s, using the highly sophisticated Duo-Art system. I was sceptical that piano articulation at high speed could ever have been so miraculously clear and even. 'I still wonder whether some touching up was done on the actual rolls, but here was a pianist absurdly under-appreciated in this country who had me believing in the Hofmann legend after all. As Mr Bolet demonstrated over and over again, that miraculous clarity is achievable by human fingers in live performance. (...) It is not often that we have piano-tigers even from across the Atlantic pouncing to such effect.

Another contender for Jorge Bolet's best review... 16-18 November 1980 (Sat/Sun) Orpheum, Vancouver, Canada Brahms Piano Concerto No.2 Vancouver Symphony Orchestra under Kazuyoshi Akiyama. ​ He was replacing Lazar Berman, whose cancellation - due to diplomatic difficulties between the US and USSR due to the invasion of Afghanistan - was announced early on the season. [Of Bolet:] "It was like the substitution of one diamond for another of equal or even greater brilliance." Doug Hughes of The Province: 'Once in a very great while, an experience in the theatre or concert hall can be so transporting that it sends you out into the streets, confused and dizzy, and it takes some time to readjust to reality. There is every reason to suspect that the most, if not all of those who left the Orpheum on Sunday afternoon after Jorge Bolet's performance, felt that way. In my years of concert going, I have heard Brahms 2 played by some highly distinguished artists, among them Dame, Myra, Hess, Solomon, Sir Clifford Curzon, Wilhelm Backhaus, and Rudolf Serkin. I have heard more recordings of it than I can possibly remember. But with Bolet's incredible performance of this towering work on Sunday afternoon, I believe I have now heard it in all its glory, perhaps as close as it is possible to come to the way the composer intended it to be played. There were many things about this performance that were less than technically ideal. Nevertheless, it added up to one of those all to rare instances in which musicianship (bolet, orchestra, conductor) took the lead over mere technique.' ​ (*Bolet had played in Vancouver on Sunday, 1 November 1953, and was advertised for the 1954-55 season. On 12/13 January 1964 he played Beethoven's fourth piano concerto.)

John Crouch, a former Indiana student of JB for 3 years, was interviewed in 1979 (what follows is a mixture of his own words and those of the journalist): 'Bolet is a natural pianist, like a natural athlete. At the peak of what could be called his first career, his manager was scheduling him for 100-120 performances a year, which is one almost every three days. Then, in his mid-50s, Bolet decided to start winding down his performing career and in 1968, accepted a teaching position at Bloomington. Next came a revival in Romantic music. Well, he was soon back on the road with a hectic schedule - careers don't necessarily go like this. He would bop back into town after a string of concerts and give us marathon lessons... he was in and out all the time but he expected us to know our stuff because he knew his. [In referring to Liszt's Totentanz with Boulez (1971) - Andre Watts was ill, and Jorge agreed to substitute at the last minute but he did not know the music] 24 hours later, he had the thing memorised. He played it for his students. It was something it would've taken us six months to learn. It just shows how well the man works under pressure. He has an instant recall of the music he plays, he seems to be able to bring a piece back into his fingers once he's learned it.' The Morning Press, Bloomsburg, Pennsylvania (22 September 1979)

Página web: Clicc Bolet ofreció dos conciertos en la gran ciudad turca —antaño Bizancio, más tarde la legendaria Constantinopla y, desde 1930, oficialmente Estambul—. Los recitales tuvieron lugar los días 21 y 23 de junio, a las 21:30, en el Büyük Salonu (Salón Grande) del Centro Cultural Atatürk. El programa incluyó obras de Mendelssohn; la Sonata n.º 23 en fa menor, Op. 57 de Beethoven, conocida como Appassionata; el Prélude, Choral et Fugue de Franck —citado en turco como Prelüd, Koral ve Füg—; y Réminiscences de Norma de Bellini/Liszt. Aunque Bolet no interpretó a Liszt en la película Song Without End (1960), poseía una presencia escénica que habría resultado plenamente convincente en cualquier filme histórico; uno podía imaginarlo, por ejemplo, en el papel de un virrey de la India durante el Imperio británico. Tras concluir su gira europea, supimos que planeaba realizar un safari fotográfico de quince días por Kenia y Tanzania. El diario Cumhuriyet, el más antiguo de Turquía, publicó un obituario el 31 de octubre de 1990 en el que recordaba con melancolía: «Resultó que, sin saberlo, fuimos testigos de dos de los últimos conciertos de Jorge Bolet, descubierto en Turquía en el otoño de su vida, cuando ofreció dos recitales de piano durante el Festival Internacional de Estambul, en junio de 1988.»

Review of 10 May 1979 recital in the Queen Elizabeth Hall, London

¡No lo olvides! Hay una versión más corta de esta página web disponible en español. ¡Haga clic en el enlace! (El orador en el video no es real pero AI) Clases magistrales para BBC Scotland El 27 de febrero de 1983, Jorge interpretó el Concierto para piano n.° 3 de Rachmaninoff en el Usher Hall de Edimburgo, con la BBC Scottish SO y Bryden "Jack" Thomson, un brillante director escocés con una frase ingeniosa. Esto sería transmitido por la televisión de la BBC en el verano de 1983, como culminación de tres programas de clases magistrales sobre el concierto (que presumiblemente fueron grabados aproximadamente al mismo tiempo). En el programa introductorio, JB fue entrevistado por Robin Ray (1934-1998), locutor, actor y músico inglés, famoso entre otras cosas por su conocimiento enciclopédico de los números de Köchel de las obras de Mozart, que expuso en una popular tarde de domingo. panel musical show Face The Music. El tema musical del programa fue la Canción Popular de la suite Façade de Sir William Walton (quien fue invitado al programa en el año de su 70 cumpleaños). El propio Jorge también fue invitado al programa que se emitió el domingo 2 de diciembre de 1984 por la tarde. El papel de la BBC para acercar a Jorge Bolet a un público internacional más amplio fue considerable.

¡No lo olvides! Hay una versión más corta de esta página web disponible en español (aunque todavía está en desarrollo). Por favor, ten en cuenta que no soy hablante nativo de español, así que habrá muchos errores en la traducción. No dudes en enviar correcciones. ¡Haz clic en el enlace! (El orador en el video no es real pero AI)

Recorded in 2019. I've added an audio file (it's too large to upload to a blog post) where a former student speaks about JB and orchestra, and about "retouching" music. LINK (then scroll down to "Liszt Totentanz") Conductor Gary Thor Wedow has led performances with opera companies, orchestras, festivals, and choral organisations throughout North America. Although he has conducted music from many different eras and styles, Wedow specialises in historically-informed performances of operas from the 17 th and 18th centuries. Wedow has been a frequent guest of Boston Lyric Opera, Glimmerglass Opera, Portland Opera, and the Amherst Early Music Festival among others. He was for many years associated with New York City Opera, leading the New York premiere of Telemann's Orpheus in 2012. Born in LaPorte, Indiana and now a resident of New York City, he has been a member of the Juilliard School faculty since 1994 where he has led performances of L'incoronazione di Poppea, La finta giardiniera, Ariodante and Don Giovanni. His continued championship of young musicians and singers is exemplified by projects at The Teatro Colón, Wolf Trap Opera, the San Francisco Opera's Merola Program, and the IU Jacobs School of Music, where he studied piano with virtuoso Jorge Bolet before earning his Master of Music degree at the New England Conservatory. Recently, Gary Thor Wedow was on campus to conduct the IU Opera production of Giulio Cesare for the American Handel Society's Festival and Conference. While he was here, he joined Aaron Cain for a conversation in the WFIU studios. (biography correct to 2019)

My trawl through Jorge Bolet's concerts has clarified a number of issues. It looks as if it was in the mid-1970s that he introduced two new and substantial works to his repertoire. I could have missed earlier mentions but it may be that someone can explain how he came to these two works, especially the Reger which has high rarity value. 29 September 1975 Teatro Coliseo, Buenos Aires (Argentina) incl.Chopin's Sonata No. 3 in B minor Op.58 and the Mozart/Liszt Don Juan Fantasy [According to what I have recorded thus far (24.4.2026), it is only now in 1975 that the Mozart/Liszt Don Juan Fantasy begins to appear on programmes.  He was to record it in 1978 for L'oiseau-lyre/Decca] ​​​ 13 October 1975 Jefferson Civic Center, Birmingham, Alabama incl.Chopin, Polonaises in C sharp minor, E flat minor and F sharp minor, Reger/Telemann; Liszt, 3 Concert Etudes & Don Juan Fantasy ​First mention of Reger/Telemann...?