I was up another mountain at the time of the final- in the Abbruzzo actually,but unfortunately was able to hear the final debacle on the wireless(sic).
Sakiya sounded like E manuel Ax on a very bad day,Leone at least knew he was not ready for the final and had not prepared his Rakhmaninov and my Russian, with Aquila like hands, played like he had looked ( but not until now sounded )- a fish out of water.
The most disgraceful thing was the conductor and the local band ( orchestra is not a term one could use here).I have never heard every entry slowing down like that and the horns and woodwind excrutiatingly out of tune!
Our friends must have been there for the beer,which is the only thing I would have been sorry to miss,but I consider myself the fortunate one that I had a switch that I could detonate ” a piacere”.
Never has anything been more pleasurable!
What should the artistic director do to rectify this situation- is rather a different question.He should do the opposite of everything he is doing now and maybe concentrate on the job in hand.To help and encourage the undoubtable talent that was present and not recognised.
I totally agree about the Algerian/Canadian boy and hope that the Keyboard Trust can give him a helping hand- there were also a couple of Russians too who could also be encouraged.
As I said to a couple not admitted to the final that one might consider that a compliment- amply demonstrated in technovision ,as it turned out.
Surely this farse of not giving out the first prize could be taken to its logical conclusion and not give a prize at all,but maybe have the courage,in these circumstances,to use the money for a period of study and preparation of repertoire,allowing considerable potential to have the time to mature.No wonder they are happy with the KT participation!
Glad you got on well with Bruno Monsaigeon- I wonder who he substituted?- he is really someone who knows and hope he may have discovered via you both, the KT’s remarkable activity.