Zoe Zeniodi
Zoe Zeniodi, hailed by the press as “Ms. Dynamite”, is the Chief Conductor of the Orquesta Filarmónica de Buenos Aires at Teatro Colón, Argentina, and the Artistic Director of El Sistema Greece.
Her international career in opera and ballet has led her to collaborations with Opera Australia, Opera Ballet Vlaanderen, Teatro de la Maestranza, Frank Martin Odyssey in Geneva, Opera Queensland, New Zealand Opera, Opera Southwest, Florida Grand Opera, Bremen Opera, Greek National Opera, Onassis Cultural Center, Festival of the Aegean, among others.
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Recent and upcoming engagements in 2026 – 2027 include her debuts with Opera de Paris and Orchestre de Chambre de Paris, Opera Orchestra of Montpellier, National Symphony Orchestra of Chile, Norrlandsoperan Orchestra in Sweden, Real Filarmónia Galicia in Spain, Polish Baltic Philharmonic in Gdansk, Orchestre National de Metz as well as returns with Cyprus Symphony Orchestra, Sãchsischen Bläserphilharmonie, Porto Alegre Symphony Orchestra and Opera Southwest. She will also conduct a new production of Piazzolla’s Maria de Buenos Aires with the Athens Symphony Orchestra.
Zoe Zeniodi has conducted OSESP (State Symphony Orchestra Sao Paolo), ROSS (Real Orquesta Sinfónica Sevilla), Orquesta de Castilla y Leon, Orchestre National Avignon Provence, Bremen Philharmonic, Porto Alegre Symphony Orchestra, Banda Sinfonica de Montevideo, National Orchestra of Colombia, National Orchestra of Tatarstan, National Orchestra of Vietnam, South Czech Philharmonic, Cyprus Symphony Orchestra, Bogota Philharmonic, Brno Philharmonic, Olympia Symphony Orchestra, Paris Mozart Orchestra, Palm Beach Symphony, Orchestra Classica Toscana among many others.
She has conducted in venues such as the Paris Philharmonie, Teatro Colón, and Carnegie Hall. She has collaborated with artists such as Midori, Sir Stephen Hough, Vadim Gluzman, Esteban Batallan, Homero Francesch, and Lise de la Salle.
As an associate conductor, Zoe Zeniodi has covered productions and concerts with the Los Angeles Opera, Lyric Opera of Chicago, Philharmonia Orchestra, Orchestre de Paris, Santa Fe Opera, Köln Gürzenich Orchestra, Orquesta de Castilla y Leon and her work with youth orchestras has led her to collaborate with Academia Jovem Concertante, Bogota Youth Orchestra Florida Youth Orchestra, Greater Miami Youth Symphony and various Sistema inspired programs.
The Greek conductor has been a Taki Alsop Conducting Fellowship Mentee, a Fellow of the Hart Institute of Women Conductors, and a member of La Maestra Academy at Paris Philharmonie.
The documentary “Maestra” featuring her life and work premiered at the Tribeca Film Festival in New York and won “The Audience Award Documentary Second Place”, among many other prizes in various film festivals, and is currently showing on Netflix.
Previous artistic leadership positions include Artistic Director of the Thessaloniki Concert Hall, Principal Conductor of the Greek-Turkish Youth Orchestra, Principal Guest Conductor for “Asia-Europe” New Music Festival Hanoi, Chief Conductor of MOYSA, Cover Conductor for Florida Grand Opera, Music and Artistic Director of Broward Symphony Orchestra and Alhambra Orchestra, Associate Music Director of the Festival of the Aegean, Artistic Advisor of the Festival of the Aegean, Artistic Director of “Consonances” annual music series for the Onassis Foundation Scholars’ Association and Associate Conductor of the Frost Symphony Orchestra.
She has recorded for the Greek National Radio, as a conductor (championing contemporary music by Greek composers) and a pianist. She has released seven recordings of American contemporary music, including most of Thomas Sleeper’s world premieres and Frank Ticheli’s master song cycle “An American Dream” (Albany Records, Uroboros Music, and Puzzlemusik). Additionally, she took part in prestigious masterclasses where she conducted the Cleveland Orchestra, Orchestre de Chambre de Paris, and Stockholm Sinfonietta.
Zoe Zeniodi holds a Doctorate of Musical Arts and an Artist Diploma in Orchestral Conducting from the University of Miami. She studied piano and collaborative piano at the Royal College of Music in London and at the Mozarteum University in Salzburg, earning her Master’s and Bachelor’s degrees, as well as Postgraduate and Advanced Postgraduate Diplomas. During her studies, she received scholarships and grants from the Alexandros Onassis Foundation, the Friends of Music Society, the Propondis Foundation, the Royal College of Music, and the University of Miami.
As a pianist, Zoe Zeniodi appeared in major concert halls and festivals in England (Royal Festival Hall, St John’s Smith Square, St James’s Piccadilly, Snape Maltings), France (Montpellier and Guibwiller Festivals), Germany (Frankfurt Oper, Rheinsberg Festival, Halle, Kiel, Leipzig, Düsseldorf, Dortmund, Berlin, Cologne), Croatia (Lisinski Concert Hall), Russia, Austria, Belgium, Holland, Greece, Italy, Venezuela, Mauritius, and the USA.
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“Mozart’s score is breathtakingly brought to life in a nuanced, well-paced reading by conductor Zoe Zeniodi and the Opera Australia Orchestra”
“In her OA debut the conductor Zoe Zeniodi was notable for her attentiveness to the singers and for the clean, clear articulation of the music throughout a long, uncut night.”
“…a conductor must engage us with an effervescent reading, and certainly, the Opera Australia Orchestra under Greek conductor Zoe Zeniodi on August 1st, this revival’s opening night, rose to the buoyant heights of Mozart’s 1790 score. From the very first notes of the overture Zeniodi conjured a crisp, brisk interpretation. Subsequent numbers and their recitatives followed fast upon each other with exhilarating precipitateness, appropriate to Da Ponte’s quicksilver and jesting atmosphere. The orchestra sounded light and airy, the aural equivalent arguably of Zeniodi’s largeness of conducting gesture. Woodwind voicings were almost tasty, and there was something incredibly appropriate”
“Rêverie by Scriabin, a short and romantic piece, was interpreted with real vigor and feeling, with a delightful use of portamento for the strings. It was a real achievement to create such a sensitive and moving performance in such a short piece. A memorable evening from both Gluzman and the Orquesta Filarmónica de Buenos Aires, and of course, without falling into exaggerations, we were in the presence of one of the best conductors of the season so far. Zoe Zeniodi managed to convey her attention and concentration and made the audience relish an unusual repertoire. Undoubtedly, a true miracle.”
“Conducting the OFBA in a harmonious and very balanced way, Zoe Zeniodi takes advantage of the warmth of the strings to bring out the dreamlike equanimity that emerges from the score. The final climax in the form of a decrescendo is performed with great mastery by all, demonstrating that the seriousness and regularity of rehearsal work always pays off.
… Zoe Zeniodi’s mastery and precision highlight certain effects that embellish the dialogue between the orchestra and the violinist. The conductor, attentive and careful to place him in the best conditions of musical accompaniment, supports and encourages him to interweave with the orchestra in a nuanced and structured manner. A warm applause from a fully electrified hall rewards a performance that will be remembered for its contrasts and passion, regarding both the alternation of the compositions and the divergent atmospheres that govern them, as well as the interpretation that highlights the talents of the two main protagonists, mindful of their role while listening attentively to each other.”
“This was well understood by the conductor Zoe Zeniodi, who coaxed a velvety sound from the orchestra, particularly its string section. She directed the many vocal ensembles with precision, and the singers’ intonation was immaculate throughout.”
” Zoe Zeniodi, our great favourite! During La Maestra, Zoe Zeniodi won us over by conducting Louise Farrenc’s Symphony with great panache, determination and sensitivity. She is a conductor with a great sense of articulation and she is very structured. She is very charismatic and knows how to communicate effectively with the orchestra and the soloists.”
“The Greek conductor Zoe Zeniodi does not resemble Emmanuele Haim, so we get a different repertoire for her younger age. But, like Haim, Zoe deserves to be called Ms. Dynamite. Her energy, her obvious ability to lead (this, in an almost military capacity that defines conductors, as well as her physicality), her mature ideas shone in both concerts that we attended… Her Schumann’s 4th with the splendid Bogota Philharmonic was more than praiseworthy; the contrast between the thickness of the third movement and the vigor of the finale were a testament to the symphonic mind of this artist whose present is brilliant and whose future appears to be more than promising.”
“Conductor Zoe Zeniodi and the Queensland Symphony Orchestra prepared both operas to a standard that suited the genres with complete stylistic perfection, which is of course merit to Zeniodi’s leadership and knowledge.”
“Greek international orchestral conductor Zoe Zeniodi’s background as a collaborative pianist enables generous connection to the singers. She maintains a sensitive balance between singer and orchestra. The QS met the challenge of Poulenc’s score with an impressive ensemble and remarkable ease. The orchestra committed to d’Netto’s score so convincingly that it was disappointing that they were invisible in the pit. A standing ovation ended the evening.”
“Dynamic conductor Zoe Zeniodi, a rising star in the international music scene, leads a full strength Queensland Symphony Orchestra.”
“And this Figaro would have been much poorer without conductor Zoe Zeniodi setting off Auckland Philharmonia Orchestra with a whirlwind overture and never letting up.”
“Galvanizing the whole performance was the glorious music which was delivered by the Auckland Philharmonia under the baton of the enthusiastic Zoe Zeniodi.”
“The musical highlights were the long finales of the second and fourth acts; Zeniodi tied together all of the musical threads easily, highlighting key individual vocal and instrumental details and bringing each of these to an exciting conclusion.”
“….not to mention the enlivened orchestral sounds from Auckland Philharmonia Orchestra led with lightness by conductor Zoe Zeniodi. Lindy Hume, director and Zeniodi created clear co-ordination between pit and stage….And with the Auckland Philharmonia Orchestra so light on their feet under the sensitive leadership of conductor Zoe Zeniodi.”
“The audience immediately connected with the intensity of the French pianist Lise de la Salle and Zeniodi who moved everyone to tears… The performance ended with a solid version of Schumann’s Symphony No.1.”
“Watching Zeniodi’s interaction with her fellow artists up close, one sees she is more musical muse than musician. Through her musical midwifery on the Schubert’s alternating moments of passion and brooding contemplation, the listener’s soul was bathed both in Socratic wisdom and Germanic Sturm und Drang. Further into the musical journey the Maestro deftly used the pauses in the score to heighten the drama, but it was her physical presence and total being that sculpted Schubert’s masterpiece, with its artful blending and then differentiation of feeling.”
“Not in one’s wildest dreams would a youth orchestra perform Tchaikovsky’s firth symphony in such an interesting and successful manner…the difference is attributed to the maestro, Zoe Zeniodi…saw to it that there was grandeur in the music, without any signs of pompousness in its passion. She allowed full development of the phrases and a natural climax towards every peak without any hurry and she discharged all tension, thus allowing the sections to develop with clarity. Behind the fire and tension one could clearly detect her reasoning.”
“The night culminated in an unexpectedly thrilling performance of Tchaikovsky’s 5th free from any sense of routine. The ingenious Greek maestro dealt with this fully developed, romantic symphonic work by making the utmost of her musicians’ youthful alacrity and focused presence. She portrayed the “Slavic” passion and the multidimensional emotional power of this music with immediacy and nobleness and she conveyed the complex, “vertical” structure of the music excellently into main and secondary narrations, and effortlessly shedded light to the dramatic and orchestration details.”
“Zoe Zeniodi conducts a fleet, dramatically intense performance.”