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LIVIA REV

Livia Rév was born in Budapest, Hungary in 1916. In 1923 she began her musical education with Margit Varro and Klara Mathe. It was evident from a very early age that she was exceptionally talented as she won the Grand Prix des Enfants Prodiges when she was nine. In later years she studied with Leo Weiner and Arnold Székely at the Franz Liszt Academy in Budapest (graduating in 1938), with Professor Robert Teichmuller at the Leipzig Conservatory, and with Paul Weingarten of the Vienna Conservatory. She also won the Grand Prix de l’Académie Franz Liszt. In 1946 she was invited to participate in the Marguerite Long / Jacques Thibaud competition in Paris as one of several young European Jewish musicians brought there by the American Joint Distribution Commission (a fellow Hungarian, Hedy Schneider won that year). Sir Malcolm Sargent first brought her to the attention of the British public after a successful orchestral concert, and since that time her solo and concerto appearances in London during the 1950s were widely hailed. She appeared as a soloist with such conductors as Sir Adrian Boult, André Cluytens, Eugen Jochum, Josef Krips, Rafael Kubelík, Hans Schmidt-Isserstedt, Konstantin Silvestri and Walter Susskind. In 1963 she was invited to make her début in the United States by the Rockefeller Institute. Subsequently she made her New York début with a recital at the Town Hall which was outstandingly successful. Madame Rév now makes her home in France. Still quite active, between her travels to Japan, Hong Kong, the Middle East, Africa and elsewhere, she teaches at the Université Musicale Internationale de Paris. Each year she gives a public master-class at the Institut Hongrois in Paris, and has also appeared in recital at the Academy of Music in Budapest (most recently in 2006 in celebration of her ninetieth birthday). She has recorded extensively for SAGA, Palexa, and Hyperion. Among the works she recorded are the complete Préludes of Debussy, Chopin’s complete Nocturnes and Mendelssohn’s complete Songs Without Words. Among her earliest recordings made around 1947 were a series of sixteeninch radio transcription discs for the Standard Program Library. From that set of recordings we hear her virtuosic performance of Francis Poulenc’s Toccata.


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Role: Classical Artist 
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