‘Accompanied brilliantly by the St.Hugh-Steinway Orchestra under the baton of the young and talented Zoe Zeniodi, Berrocal demonstrated once more his excellence….Soloist and orchestra won a long standing ovation of abundant shouts of “Bravo”. Without doubt, one of the most brilliant ends to the current season…’

Daniel Fernandez

El Nuevo Herald, 18 May 2015

‘On the podium Zoe Zeniodi appears certain of herself, precise in her movements. Her inspiring energy is breathtaking. She sets the style and pace of the performance with a clarity, creative intensity and sense of nobility rarely found. She asks for cooperation from the orchestra members and builds strong partnerships. In short, Zoe Zeniodi is enthusiastic; an artist with creative insight, a capable guide and associate, with a solid academic background, and actively involved in the modern world of music. She is here to stay and holds much promise for great things in the future.’

Dionysis Malouhos

Onassis Scholars’ Association Online Magazine, March 2015

Florida Grand Opera's production of Andy Vores' No Exit is a compelling fusion of twentieth century avant-garde theater and bracing vocal and instrumental writing… With the players behind a barrier in the corner of the room, FGO assistant conductor Zoe Zeniodi conducts a fleet, dramatically intense performance.

Lawrence Budmen

South Florida Classical Review, 28 February 2014

‘…the equally confident FSO is expertly handled by Zoe Zeniodi, who a mere eight years back was a Junior Fellow at the Royal College of Music in London; now she has a doctorate and two conducting positions with American orchestras: this one and the volunteer Broward Symphony, also based in Florida. You can confidently expect to see her climbing up the ladder very shortly.’

Martin Anderson

The Classical Review, 2 September 2011

‘Associate conductor Zoe Zeniodi led a deliberate and highly effective performance of Samuel Barber’s Adagio for Strings. Stressing the familiar music’s elegiac aura, Zeniodi drew darkly reverberant tones from the responsive string section, allowing Barber’s melody to soar without heavy handed exaggeration.’

Lawrence Budmen

South Florida Classical Review, 10 March 2011

‘Stravinsky’s suite from the 1920 ballet Pulcinella opened the concert, conducted by Zoe Zeniodi, the university’s first candidate for a performance degree in conducting. Zeniodi led a vivacious, classically scaled account of this effervescent score that never slighted the acerbic wit and bracing dissonance beneath the polished neo-classical surface.’

Lawrence Budmen

South Florida Classical Review, 13 September 2010

‘Zeniodi’s conductorial skills came more fully to the fore in Rimsky-Korsakov’s gorgeous symphonic suite Scheherazade. Here in all its technicolor glory was a performance that held little back. Sinbad’s ship moved along on some pretty substantial waves, the Young Prince and Princess emoted with unbridled passion, and the ship was dashed to pieces on a rock with a force of a tsunami.

Alan Becker

South Florida Classical Review, 21 February 2010

‘The audience received this work (Shostakovich: Ballet Suite No.1) with a standing ovation, so for the quality of the music as for the impeccable execution of Zoe Zeniodi and the Frost Symphony Orchestra.’

Daniel Fernandez

El Nuevo Herald, 25 November 2009

‘Zeniodi coolly rose to the occasion, drawing stupendous playing from the students of the university’s Frost Symphony Orchestra…. Drew maximum tension from the opening sequences, bringing the quiet dreamlike section to a great climax. In Shostakovich’s Ballet Suite No.1, Zeniodi drew some of the best playing the orchestra has ever produced. Ensemble playing was knife-edge precise.’

David Fleshler

South Florida Classical Review, 22 November 2009

‘The concert opened by Zoe Zeniodi on the podium, in Schumann’s rarely heard Faust Overture. She skillfully brought out the work’s mood changes, at one moment sinister, at another playful. The concert shoed what satisfying performances can come from a well-drilled student orchestra with the right people on the podium.’

David Fleshler

South Florida Classival Review, 3 October 2009

‘Zoe Zeniodi showed impressive podium authority and control in the last two of Ginastera’s Catalan-inspired Glosses for orchestra. The young conductor drew hushed and refined playing in the impressionistic No.4 and brilliant vivacity in No. 5.’

Lawrence A. Johnson

South Florida Classical Review, 3 November 2008

Pianist Zoe Zeniodi was the protagonist of a recent University of Miami program of music by Thomas Sleeper. Zeniodi returned to the stage of Gusman Concert Hall Saturday night to continue her in-depth exploration of Sleeper’s keyboard oeuvre which she is also recording…Marina, presented in Sleeper’s 2012 revised version, is almost Lisztian. Big boned, virtuosic, and replete with surging romantic themes, the score packs a sonic wallop. Sleeper’s writing demands flawless technical acumen and Zeniodi swirled through its intricacies with aplomb and flair...Nasopoulou’s delicate writing gave Zeniodi an opportunity to display the more subtle, nuanced side of her pianistic persona.

Lawrence Budmen

South Florida Classical Review, 14 April 2013

Zoe Zeniodi, a former Sleeper pupil at UM Frost and now an assistant conductor at Florida Grand Opera, was the fearless, musically sensitive piano soloist. Whether playing at lightning speed or softly creating impressionistic effects, Zeniodi was a stalwart advocate for Sleeper’s often difficult keyboard writing.

Lawrence Budmen

South Florida Classical Review, 25 March 2013

Among the early scores, the second movement Gretchen (after the heroine of Goethe’s Faust) from his Concerto for Piano and Winds (1984) was particularly impressive. Scored for piano and pitched percussion, the score expresses deep, inner emotional turmoil. Beginning softly, the piano line builds to an angry climax, then returns to the initial quiet.  The magical ringing soundscape supporting the piano is both unique and memorable. Zoe Zeniodi brought considerable intensity to the difficult solo role. Zeniodi also gave a beautifully articulated reading of Four Quartets (1980) based on T.S. Eliot’s poetic reflections on time. The keyboard writing of both Satie and Bartok seem to propel Burnt Norton while a flowing, impressionistic voice sings in Little Gidding. Zeniodi’s wonderful array of colors infused the sometimes austere score.

Lawrence Budmen

South Florida Classical Review, 24 February 2011

“The most important surprise of the evening was the young pianist Zoe Zeniodi. She is a young, talented Greek pianist with brilliant studies in England and Austria, where she specialized in the demanding musical type, the piano accompaniment. The role of the accompanist is not only to support the music of the soloist, but also to understand his interpretative spirit, the details of his expressive fluctuation and to participate with the same spirit in order to contribute to the expressive completion of the work. And Zoe Zeniodi has this ability. She understands the psychological vibrations of the soloist, she transfers them into her own speech and with her wavy sound brings to completion the expressive singularities of the works performed”

Costas Charalambidis

Uncommited Press, 7 November 2001

“…so that from the accompanist’s role, takes the lead role. Despite her youth,with sense of proportion, acts like the icing on the cake…”

Kieler Nachrichten

4 November 2000

“Zeniodi plays with sensitivity and gives to the songs a calm, colorful expression… …and while Zeniodi in Debussy’s ‘Chansons de Bilitis’ produces delicate dynamical transitions and lets the sound wave tenderly…”

Torsten Brandt

Göttinger Tageblatt, 6 March 2000