With a new mega-pianist 
                popping out of the woodwork every fifteen 
                minutes or so these days, there are 
                few indeed who possess the depth and 
                interpretive range to go along with 
                the dazzling technique that seems to 
                be rather commonplace amongst youthful 
                keyboard virtuosi. Evgeny Kissin, now 
                thirty-one years old, is the most notable 
                exception. His is an ability that is 
                beyond his years, and he seems to play 
                with a perfection that hasn’t been achieved 
                since the likes of Horowitz. Couple 
                his manifold talents with an affable, 
                modest personality, and you have a rare 
                artist indeed. Kissin has it all: technique 
                to burn, a huge repertoire, a wide range 
                of musical interests and a charm that 
                will not quit. 
              
 
              
In his 1999 film, Evgeny 
                Kissin, The Gift of Music, veteran 
                musical documentarian Christopher Nupen 
                gives us an intimate portrait of this 
                supremely talented young man. The film 
                covers Kissin’s early years, the appearance 
                of his musical gifts at a very tender 
                age, and the extraordinary relationship 
                between Kissin and his teacher Anna 
                Pavlovna Kantor, the only person with 
                whom he has ever studied. 
              
 
              
This is typical Nupen, 
                and it is rather sad to see that he 
                has done little to change his style 
                in the last few decades. The narrator 
                spills on in a monotone with an over-flattering 
                run- on about the pianist’s unusual 
                giftedness. He then sits off camera 
                to interview Kissin himself, whose English 
                is quite fine, but his hesitating and 
                monochromatic delivery makes for some 
                pretty tedious air time. I continually 
                got the impression that I was sitting 
                Indian-style on the hard floor of an 
                elementary classroom staring up at the 
                movie screen, in the manner common for 
                educational film viewing in my youth. 
              
 
              
The highlight of the 
                film is the extensive coverage of Kissin’s 
                1997 BBC Proms concert, which broke 
                all records, the audience having called 
                Kissin back for the longest string of 
                encores in the history of the famous 
                concert series. 
              
 
              
If one can get past 
                the documentary part of this production 
                and just sit back and enjoy the recital, 
                then this is a recommendable disc. Otherwise, 
                a handful of Kissin’s readily available 
                studio recordings will suffice quite 
                nicely. 
              
 
              
Kevin Sutton