Luisa Italina Giucci was a Uruguayan pianist and teacher. She was born in Montevideo on April 6, 1891. She was the second daughter of the marriage between Camilo Giucci and Luisa Gallo. She began her piano studies in her childhood, at the Franz Liszt Conservatory of Music, where her parents were teachers. There, she took classes with Tomás Mugica.

As a child, she performed in several concerts at the Franz Liszt Conservatory of Music. After a concert, the magazine Montevideo Musical stated that “Both, the little girl Luisita Giucci on the piano, and the young boy Camilo Giucci, are the future of music.” In her brother Camilo’s correspondence with his parents, we read comments about the progress in her studies. Thus, his father stated that “She is studying with me the Liszt Concerto, which she will play very well. She has corrected the pacing issue a little bit, but not completely. She has an undeniably great talent for the piano.” César Cortinas told Camilo (son) that “Luisita is really moving forward. She has left behind the pose of a little girl, to give herself to elevated and conscientious interpretations, typical of a temperament that is born robust, with a lot of nourishing wisdom: talent.”

After completing her studies, she taught piano at the Conservatory of Music, training several generations of pianists. In 1956, she gave a course in advanced piano performance. The press stated that “These interpretation courses that Luisa Giucci has been developing with enthusiastic dedication have undoubtedly contributed to the splendorous success that the piano has reached in our country.”

Due to her career as a pianist and her role at the Conservatory of Music, Luisa established relationships with different figures of the intellectual and musical environment. For example, in a notebook with handwritten annotations dedicated to Luisa, there are some lines by José Enrique Rodó. As for the musical environment, it is worth mentioning the bond she established with the Polish pianist Arthur Rubinstein, consolidated during the artist’s frequent visits to Uruguay.

She also played a fundamental role in the Conservatory of Music, appearing on many occasions as a solo artist or accompanist. She used to make musical presentations in the cultural cycles organized by the Conservatory of Music. For example, a cultural cycle on Balkan folklore was organized in 1949 and Luisa performed pieces related to such theme. However, her activity as a concert performer was not limited to the Conservatory of Music, as she performed in other venues. Thus, in 1947 she gave a concert with her sister Esther at Sala Verdi, and the following year she performed at the Club Fraternidad de San José.

Luisa made recordings of national and foreign artists on the Uruguayan label SONDOR. Thus, there are recordings by the Mexican Carlos Zozaya and the French Marcel Delannoy. She also recorded compositions by her brother Carlos. In 1950, Luisa traveled to Buenos Aires to record a series of compositions by Beethoven, Vivaldi, and Mario Ferrari. The press at the time stated that “With this album, other audiences will have the opportunity to appreciate the incredible artistry of this pianist, so often applauded by us.”

In 1973, after her brother Camilo passed away, she took over the management of the Conservatory of Music for a few months, until her passing on December 10 of that same year.