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
"A sane reaction to the international monotony of contemporary
"An apparently strange blend of Mozart and Schubert, however a good,
stimulating experience of the moment",
"R. Pietrafesa gave rise to the enthusiasm of the youth, and to the
protestations of the elders",
"imagination swifter than thought",
"major achievement on a creative basis: first performance of "Organum",
conducted by herself, and a remarkable result of her young choir",
"homogeneous and appropriate demonstration with "Mimo 13,
Aqui, El agua del arroyo and El roce de la sombra de un
pez" of R. Pietrafesa",
"She creates an atmosphere of high sensitivity which blossoms in
a finale of poetry",
"...This treatment of voice together with acoustic as well as electronic
instruments generates a warm, human atmosphere",
"...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",
"Renée Pietrafesa expresses her musical ideas with her peculiar
efficiency. [...] The composer's language is strengthened by her freedom",
"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",
Conductor of orchestra
"Wherever R. Pietrafesa is, the music acquires a special effervescence,
captivating anyone attending",
"a conductor with genuinely faithful skill and taste",
"R. Pietrafesa conducted Vivaldi: a gorgeous luxury through her accuracy,
her bright and gripping sound"
"Pietrafesa got an excellent response from the orchestra, performing a
piece by Bach with intelligence and harmony"
"R. Pietrafesa superb professionnal, performs music with tireless enthusiasm,
and this absent and negligent look of a recalcitrant amateur"
"accomplished musician, performer and composer who reveals herself as
the ideal cement of this organisation whose activity enlightens the Alliance
Française of Montevideo"
"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
"everything is perfectly analysed and thoroughly felt"
"her piano performance is perfect, her confidence is absolute; her phrasing,
her rhythm, her dynamics, and her technique, make her an exquisite
"la fraîcheur, la
spontanéité et le quelque chose d'aérien et de presque
angélique du jeu de R. Pietrafesa..."
"tout le concert fut un délice permanent... interprétation
magistralement anti-pédante et pourtant raffinée et
"la musique n'est pas une profession, mais sa raison de vivre"
"qualité presque unique dans la sonorité, le legato parfait,
le sens du cantabile et la souplesse du phrasé de R.
"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
"le documentaire sur R. Pietrafesa
Pietrafesa, Compositeur-interprète] réalisé
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".
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