Néstor Pinsón

n her hometown she began her studies at the Conservatorio Provincial. Later at the Escuela de Música Popular de Avellaneda (Popular Music School of Avellaneda) she found, according to her words, her most important teacher: Orlando Trípodi. At that school she furthered her studies on Tango Piano and Folk Music Piano.

Besides the above mentioned Trípodi, at the EMPA she studied with: Aníbal Arias, Rodolfo Alchourrón, Rodolfo Mederos, Kelo Palacios, Lilian Saba and Juan Farías Gómez.

She attended courses about jazz improvisation with Diego Schissi. And she continued studying composition, counterpoint, harmony and orchestration with Daniel Montes.

She had an important encounter with Horacio Salgán, with whom she studied. About that she said, in a note in the Clarín newspaper (April 25, 2015), written by Sandra de la Fuente: «Mainly, I watched him to find out what he was doing. I had been studying with my beloved teacher Orlando Trípodi, and Víctor Hugo Morales suggested me to get in touch with Salgán. I wouldn’t have tried that contact had not my teacher misfortunately died in a tour of Japan a few months later. That made me decide. And those, not very methodical, classes changed my sound. They allowed me to find my own sound, my own voice».

As pianist, she joined the group led by Leopoldo Federico, Los Chalchaleros (her experience in traditional folk music), the Quinteto de Rodolfo Mederos, the Walter Ríos sextet, the quintet fronted by the notable Carlos Buono. She accompanied Nacha Guevara in her visit to Spain when she presented the show Nacha canta a Discépolo.

She backed up a large number of singers like Raúl Lavié, Jorge Sobral, Sandra Luna, Guillermo Fernández, Alberto Podestá, Julia Zenko, Juan Darthés, Jairo, Amelita Baltar, María Creuza and many others.

Thereafter, in 1996, she teamed up with Damián Bolotin (violinist) as the Possetti-Bolotin duo. The duo released the albums Entre nosotros (1998) and Ida y vuelta (2001) and then they appeared with a repertoire of traditional tangos and pieces of their own at different venues in Argentina, Uruguay, Brazil, the United States and Europe.

In 2002 she put together her quintet, with a repertoire that included only her compositions. With this group she recorded, in 2003, the first album: Mano de obra, which was awarded the prize Konex 2005 in the category Agrupación de Tango, and meant a true change in sound for the tango genre.

In a second stage, the quintet becomes a sextet with the addition of a trombone. With this new lineup, Sonia Possetti Sexteto recorded the album Cayó la ficha, in March 2009, with a new unpublished repertoire by the pianist, in which form and language are expanded to make place for content.

The sextet includes Damián Bolotin (violin), Víctor Villena –later replaced by Nicolás Enrich- (bandoneon), Pablo Fenoglio (trombone), Gonzalo Pérez Terranova (vibes and percussion), Adriana González (double bass) and Sonia Possetti (piano, compositions and leadership).

The pieces and charts written by Sonia were broadcasted in several countries and are included in the repertoire of many music ensembles like: Orquesta Típica Rotterdam (Holland), BBC London Symphony Orchestra (Great Britain), Orquesta Nacional de Música Argentina «Juan de Dios Filiberto», Orquesta El Arranque, Orquesta del Tango de la Ciudad de Buenos Aires, Gramercy Trio (United States), Cuarteto Zum (Holland), Quinteto Alturas (Australia) and El Último Tango, group led by the renowned cellist Eduardo Vasallo (Great Britain).

She also wrote music for the movies, for documentaries like: Ramón Carrillo, el médico del pueblo (documentary), Tango, una historia con judíos (documentary) and Fútbol Argentino.

She is an artist that indefatigably searches for creative and sound innovation in tango, and so she goes on along her music path which does not need tinsel at all.