“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. The evolution of emotion through changes of musical mood and dynamics was guided by Zeniodi’s swaying and her hand movements; they simultaneously ‘spoke’ to the cello that needed to play a bit louder and the violin whose voice was just a breath…”

Link to the full review below

The National Herald, 03/2020