How Martha Argerich gets herself on stage (will she, won’t she?)

How Martha Argerich gets herself on stage (will she, won’t she?)


norman lebrecht

April 07, 2015

A wonderful clip from Stephanie Argerich’s film, Bloody Daughter, now on UK release.

martha argerich backstage


  • Erich says:

    This film is a deeply touching masterpiece and should be viewed by anyone who really cares about what makes such wonderful artists – and their immediate entourage – tick.

  • Hilary says:

    Perhaps an insight into why Martha Argerich’s concerto and solo repertoire has become rather small.

  • T-arafanboy says:

    Crazy but touching film, from this clip we are able to appreciate the courage that it takes for an artist to get on stage.

  • NicholasA says:

    I think that nobody who doesn’t (have to!) go on stage for a living will ever quite understand what it takes, especially at the top of the profession: there is just indescribable pressure.

    Years ago, at the peak of her early career, Argerich was asked who she admired most out of all her peers and she replied: “I think perhaps Artur Rubinstein, because he has learned how to play happily.” This chimes very closely with another statement which runs something like, “I love to play the piano, but I don’t really enjoy concerts.”

    There are performers, though, who seem to thrive on the activity; it can be intensely addictive, with the need to experience again that extraordinary sense of achievement which can happen when it all seems – at least for the moment – to go right.

    It’s a huge and fascinating subject. Watching this clip, I understand completely what this unbelievably wonderful artist is going through.

  • Andrew Matthews-Owen says:

    Ugh that captures that strangely terrifying and exciting feeling just before the doors open to the stage. I felt a little sick and exhilarated watching it. So glad this documentary is now available here in the UK!
    Thanks for the update.

  • David Boxwell says:

    She can’t go on. She must go on. She can’t go on. She must go on . . .