Born from Italian father and Brazilian mother, Bernardo Bonezzi (Madrid, 1964) was an authentic prodigy child in the Spanish musical world. At the age of six he began to play guitar, at eight he started listening to David Bowie and other foreign bands and soloists, as Marc Bolan or Roxy Music, that were very difficult to access in our country, at that moment still ruled by dictator Franco. At the age of ten he began to compose his first melodies.
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Born from Italian father and Brazilian mother, Bernardo Bonezzi (Madrid, 1964) was an authentic prodigy child in the Spanish musical world. At the age of six he began to play guitar, at eight he started listening to David Bowie and other foreign bands and soloists, as Marc Bolan or Roxy Music, that were very difficult to access in our country, at that moment still ruled by dictator Franco. At the age of ten he began to compose his first melodies. In 1978, being thirteen years old, he created the band “Zombies”, pioneer and seminal group of what would later be called "la movida madrileña”. After being the first band that played in the now mythical venue "El Sol", in the spring of 1980 they published the single Groenlandia that has become with time a real classic of the national pop music. It was followed by two albums that made him one of the most respected and valued musicians of the period: Extraños juegos (RCA, 1980) and La muralla china (RCA, 1981). At the beginning of 1982 “Zombies” split, and Bonezzi, who was always interested in experimentation and innovation, made his first debut in film music composing the songs of Pedro Almodóvar second movie, Labyrinth of passions. That same year he produced and wrote the music of the album of "Almodóvar-McNamara", one of the musical icons of the Spanish pop music of the 80’s. Meanwhile, Bernardo Bonezzi undertook a solo project that didn’t satisfied him enough and whose results were the 12” Las diez mujeres más elegantes (CBS, 1983) and the album Bonezzi-St. Louis (CBS, 1984), in collaboration with singer Didi St-Louis. From then on, he concentrated exclusively in music composition for cinema, television and theatre. He scored more than forty movies, of outstanding directors such as Pedro Almodóvar, Manuel Gómez Pereira, Agustín Díaz Yanes, Rafael Moleón, Enrique Urbizu, Icíar Bollaín or Pedro Olea. In 1995 he received the Goya Award (Spanish “Oscars”) for the music of Nobody Will Speak of Us When We’re Dead, besides being nominated for the same award four more times. He was also Member of the Board of SGAE (Spanish Authors Society), the youngest in the whole history of this institution. He also wrote many other soundtracks for television; besides the hugely popular Farmacia de guardia by Antonio Mercero, he collaborated with directors such as Alfonso Ungría, Ricardo Franco, Imanol Uribe, Iván Zulueta, Antonio Drove, Manolo Matji or Miguel Hermoso. In 2002, exhausted of having worked that much, he decided to take some time for himself. He began to compose freely, boundless at the start, until little by little he found his own path. In 2004 he returned to the musical panorama with a solo CD, La hora del lobo, the first of a trilogy dedicated to the hours of the day. After this first delivery inspired by the night, he composed and released La hora azul, inspired by the morning. With La hora del té, inspired by the afternoon, Bernardo Bonezzi crowns this triple instrumental work of extraordinary maturity.
