Wow, Mr. Ohlsson has made quite an impression on me! I think it helped that I was in the 3rd row in the center section on the piano side. Every concert seems a little bit better with good seats. I'll try to keep it brief but helpful:

He started the program off with Beethoven's Op.2, No.3 Sonata. I'm not that big of a fan of this one, but he played it very well, with little use of the pedal. He has an extremely good tone. After the first movement, before he started the second one, he paused for what I thought was the usual "get your cough's over with" timeout. But he sat there for around 45 seconds to a minute, that's a long time when everyone is just sitting there looking at him! All of the coughs had died down, and right when he was reaching up to start the second movement, a cell phone rings and he cracks a smile and the audience laughs. He says "I would rather you do it now then during the slow part." Audience laughs some more.

On to the Chopin 3rd Sonata. He was clearly at home with this piece. With the Beethoven, you could sense some apprehension with it. But I'm guessing he's probably played this Sonata for 30+ years. He was enjoying performing this and it showed. A very powerful interpretation and he had the audience tapping along during the last movement.

After intermission, he started with Busoni's Carmen Fantasy and then did the Chopin Variations. Spectacular performance of both of these works. Made them seem effortless. Again, he seemed to be at home with these works.

Now onto the Scriabin. Whoa, this man can play Scriabin! His Etudes were not listed in the programme other than as "10 Selected Etudes". I could tell you what they were if I had my score in front of me, but I don't so I'll just talk about the ones I know for sure. He started off with the Op.2. and for his forth one he did Op.8, No.12. This was an unbelievable performance of it. Had tremendous power (ala Horowitz) and played it flawlessly. The audience couldn't help but clap at the end and he got up to get a breather when he ended. He then came back and did the "Mesquito" etude for number 5. At 6 he did Op.42, No.5 which is my favorite. Again, played this one with the same drive and power of Op.8, No.12. This was the highlight of the evening for me. At the 8th etude, he started to cough randomly during the beginning, and then he stopped playing so he could cough some more and said "It will sound better without the coughs". The audience laughed again.

He then did some later etudes and ended with Op.65, No.3. Right after he finished the dramatic conclusion to this etude, he fell off the bench as he hit the last notes but kept his balance and made a 360. When he came back around and faced the audience you should have seen his face, talk about excitement! The audience burst out in laughter. It was the funniest thing I've ever seen at a concert.

For his encores, he did 2 Chopin Waltez, Op.18 and Op.64, No.2.

Afterwards I met him and got my program signed, he's really a jolly guy! On my way out, I ran into Van Cliburn and his little entourage going in to talk with him. From what I overheard, I think they're were having an after concert party at Van's house and was going to tell Garrick. I was thinking of dropping by , but was tired and decided not to! :p

Overall, this was a concert I won't forget and could be the "one" for me.

Thanks jefflube!

for your review. May I ask if you noticed the piano that he used? Bosendorfer or Steinway? If I remember correctly in the recent years Mr Ohlsson frequently uses Bosie for his concerts.

It was a Steinway this time, and I believe it was just the "house" piano.

Thanks for the review!! It sounds very exciting -- would love to have seen it!

_Brad

Jeffylube,

My wife and I had the pleasure of seeing Garrick at Jordan Hall two years ago. We had seats similar to yours. The place has room for less than 1000, I think, and is much smaller than Symphony Hall. Ours were within 25 feet of the tail of the house 'D'.

The show didn't have the comedy you were fortunate to be a part of, but he did seem to be really engaging, making frequent eye contact with the audience, as if to see the impact his playing had on people while it was taking place.

Chris

Thanks for the review. I guess NY City is not the only place where bad concert etiquette is alive and well.

I saw earlier this year at Lincoln Center and the Suny Purchase arts center playing Busoni, Bach and Liszt. In the recital at the arts center, there was a good deal of humor and he talked to the audience for a good amount of time between pieces. He even had a memory lapse in an encore (finale of Mozart's K.330) and stopped and said "How did that go again?". His playing is great of course, glad you enjoyed it!