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Renée Pietrafesa Bonnet
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What they wrote about her:

« Brought up in the stern order of the seven pianos of a house, similarly painted by Goya, kind of "Quinta del Sordo", Uruguayan temple of music, in utmost Latin America. Priest angel, with a sharp profile, sprung up out of the copper chips bursting out her childish hair: She is currently in the midst of creative process, through contemporary technique learnt in Paris.

A revolutionary born within tradition, she naturally knows how to make us effortlessly take part in the ultimate, often disconcerting, musical discoveries. This initiation is a privilege. This privilege is absolutely necessary so that music be revealed to all music lovers, not reserved for high-brows in the know. This gift of communication, at a high level, does not scare Renée Pietrafesa, for it has always been her companion. It follows her faithfully as she faces her audience, along her tireless path: Composer, conductor, player, sometimes painter, and always authentic. »

Bernard Bistes, 1978

Interviews: Renée Pietrafesa. Valorar la expresión. (Uruguay Cultural), En la casa de Renée (El Icegerg, Clásica 54 mn)
10/02/2022 - Ser, aprender y contarlo, Mateo Magnone Hugo, Brecha

Composer

"A sane reaction to the international monotony of contemporary music",
El Dia, 1976, R.F. Lagarmilla, Montevideo, Uruguay.

"An apparently strange blend of Mozart and Schubert, however a good, stimulating experience of the moment",
El País, 1976, E. Friedler, Montevideo, Uruguay.

"R. Pietrafesa gave rise to the enthusiasm of the youth, and to the protestations of the elders",
Journal des Journées Musicales de Vernou, 1976, Langeais, France.

"imagination swifter than thought",
Critiques Musicales du Centre Culturel de Censier, 1976, Paris, France.

"major achievement on a creative basis: first performance of "Organum", conducted by herself, and a remarkable result of her young choir",
El País , 1978, E. Rodriguez, Montevideo, Uruguay.

"homogeneous and appropriate demonstration with "Mimo 13, Aqui, El agua del arroyo and El roce de la sombra de un pez" of R. Pietrafesa",
El País, 1978, E. Rodriguez, Montevideo, Uruguay.

"She creates an atmosphere of high sensitivity which blossoms in a finale of poetry",
El País, 1983, Washington Roldán, Montevideo, Uruguay.

"...This treatment of voice together with acoustic as well as electronic instruments generates a warm, human atmosphere",
El País, 1984, E. Friedler, Montevideo, Uruguay.

"...conjugates in an elegant and original fashion theses indigenous themes with current techniques of composition, creating polytonal textures, highly expressive sections of atonal and polyrhythmic forms",
El Dia, 1985, N. Giguens, Montevideo, Uruguay.

"Renée Pietrafesa expresses her musical ideas with her peculiar efficiency. [...] The composer's language is strengthened by her freedom",
Brecha, 1986, J.J. Iturriberry, Montevideo, Uruguay.

"with her perpetual lyricism, the composer handles an interesting ambiguity in her harmonic and melodic language. There is an everlasting feeling of seeming but not being, which ends up to be most puzzling",
El País, 1997, E. Rodríguez Barilari, Montevideo, Uruguay.

Conductor of orchestra

"Wherever R. Pietrafesa is, the music acquires a special effervescence, captivating anyone attending",
El País, 1958, Washington Roldán, Montevideo, Uruguay.

"a conductor with genuinely faithful skill and taste",
El Dia , 1978, N. Giguens, Montevideo, Uruguay.

"R. Pietrafesa conducted Vivaldi: a gorgeous luxury through her accuracy, her bright and gripping sound"
La Mañana, 1978, J. Novoa, Montevideo, Uruguay.

"Pietrafesa got an excellent response from the orchestra, performing a piece by Bach with intelligence and harmony"
El Diario, 1978, R. Ponce de León, Montevideo, Uruguay.

"R. Pietrafesa superb professionnal, performs music with tireless enthusiasm, and this absent and negligent look of a recalcitrant amateur"
El País, 1978, E. Friedler, Montevideo, Uruguay.

"accomplished musician, performer and composer who reveals herself as the ideal cement of this organisation whose activity enlightens the Alliance Française of Montevideo"
La Mañana, 1978, J. Novoa, Montevideo, Uruguay.

Perfomer

"This young pianist's precocious maturity, the gravity of her attitude towards music, her inner serenity, the perfection of her sense of rhythm, her complete sense of a global vision of the musical work are amazing"
El País, 1958, Washington Roldán, Montevideo, Uruguay.

"everything is perfectly analysed and thoroughly felt"
La Tribuna Popular, 1958, H.R.M., Montevideo, Uruguay.

"her piano performance is perfect, her confidence is absolute; her phrasing, her rhythm, her dynamics, and her technique, make her an exquisite player"
El Plata, 1958, I.R., Montevideo, Uruguay.

"la fraîcheur, la spontanéité et le quelque chose d'aérien et de presque angélique du jeu de R. Pietrafesa..."
El Dia, 1976, Y.R., Montevideo, Uruguay.

"tout le concert fut un délice permanent... interprétation magistralement anti-pédante et pourtant raffinée et exquise"
El País, 1978, E. Friedler, Montevideo, Uruguay.

"la musique n'est pas une profession, mais sa raison de vivre"
El País, 1976, Washington Roldán, Montevideo, Uruguay.

"qualité presque unique dans la sonorité, le legato parfait, le sens du cantabile et la souplesse du phrasé de R. Pietrafesa..."
El País, 1976, Washington Roldán, Montevideo, Uruguay.

"son toucher a eu la clarté, la transparence et la ductilité qu'exige le quatuor en Mi b Majeur de Mozart pour piano violon alto et violoncelle"
El País, 1978, E. Friedler, Montevideo, Uruguay.

"le documentaire sur R. Pietrafesa [Renée Pietrafesa, Compositeur-interprète] réalisé par Eva Houdovã en juin 1977 a été choisi par la critique et le jury du 5e festival international du film à Besançon : cette jeune musicienne uruguayenne enseigne à Paris et explique sa conception personnelle de la musique".
Festival International de Besançon, 1978, France.

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