Enrique Mazzola


Italian conductor Enrique Mazzola is Artistic & Music Director of the Orchestre National d’Ile de France (ONDIF) to which he was appointed from the 2012/13 season. Renowned as an expert interpreter and champion of bel canto opera, he is in demand worldwide as both an operatic and symphonic conductor. 

Plans for the 2016/17 season include his debut with Lyric Opera of Chicago (Lucia di Lammermoor), and return visits to Opernhaus Zurich (I puritani, Barbiere di Siviglia), Wiener Symphoniker (Musikverein, Vienna), Orchestre Symphonique de Quebec, Sao Paulo State Symphony, and Bregenzer Festspiele with Rossini’s Mosè in Egitto. Plans with ONDIF include performances of Rossini’s Stabat Mater, recording work and regional touring.

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  • Behind the scenes - Mazzola conducts the Glyndebourne premiere of Donizetti's 'Poliuto'


Salle Louis-Frechette, QUEBEC

Giovanni Paisiello: Sinfonia Funebre 6'
Arvo Pärt: Festina Lente 5'30
Nikolaj Gorecki: 3 Olden Style Pieces 11'
Mozart Requiem

Orchestre Symphonique de Quebec

Kimy McLaren, soprano
Maude Brunet, mezzo
Philippe Gagner, tenor
Alexandre Sylvestre, bass

Theatre des Champs Elysees, PARIS

Gioacchino Rossini : Il Signor Bruschino

Gaudenzio : nn
Florville : Maxim Mironov
Sofia : Désirée Rancatore
Bruschino Padre : Alessandro Corbelli
Filiberto : Christian Senn
Bruschino Figlio : Joao Pedro Cabral
Delegato de Polizia : Piotr Kumon
Marianna : Sophie Pondjiclis

Orchestre National d'Ile de France

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ONDIF, Artistic Director

In 2012, Mazzola became Artistic Director of Orchestre National d'Ile de France. His first season at the helm of ONDIF was widely praised by audiences and critics alike. In 2014 the orchestra celebrated its 40th anniversary with very special projects including their Birthday concert on 26 January at Salle Pleyel featuring Markus Werba.

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Lyric Opera of Chicago *Debut*

Lyric Opera of Chicago

'The show's third musical pillar is the gifted young Italian conductor Enrique Mazzola, a first-rate bel canto opera stylist making an impressive company debut. His vigorous orchestral support fits hand in glove with the superior vocalism of Lyric's star couple.'

John von Rhein, Chicago Tribune, 16 October


Glyndebourne's Barbiere at the BBC Proms

Royal Albert Hall

“The true factotum of the evening was conductor Enrique Mazzola, faced with the unenviable task of keeping together Rossini’s tricky ensembles with his back to the singers. Under Mazzola’s direction, the London Philharmonic Orchestra played with great aplomb – no light soufflé this, but a full-blooded Italian affair complete with whirling woodwinds and a gleefully enthusiastic percussion section that matched the riotous fun had by the audience.”

Kevin W Ng, BachTrack 26 July 2016

Glyndebourne First Night of Il barbiere di Siviglia

Glyndebourne Opera

'Above all, conductor Enrique Mazzola gets Rossini’s music to sizzle. No slouching, no lingering here and there — just razor-sharp playing from the London Philharmonic Orchestra at helter-skelter speeds.'

Richard Fairman, Financial Times, 23 May 2016
'The chemistry is everything, and if sparks fly from the lean, characterful playing of the London Philharmonic, astutely paced by conductor Enrique Mazzola to maximize the build-up towards utter pandemonium.' Neil Fisher, The Times, 24 May 2016
'...the expert Enrique Mazzola is conducting and, with the help of the London Philharmonic Orchestra, the score bubbles along on a Puckish current of merry mischief.' Rupert Christiansen, The Telegraph, 23 May 2016
'From the overture – volatile and fizzy – this was largely Enrique Mazzola's night. The LPO responded to every nuance; the piccolo shrieked merrily, strings scampered, woodwinds chortled. It sounded as if the players were having a ball and Mazzola, bobbing up and down, was sharing the fun.' Par Mark Pullinger, BachTrack 23 May 2016
'Everyone benefits from the energy generated by the London Philharmonic Orchestra under Enrique Mazzola: they are the production’s real powerhouse.' Nick Kimberley, Evening Standard, Monday 23 May 2016|
'Nor does it hurt to have Enrique Mazzola at the helm of a trippingly light London Philharmonic Orchestra. This masterly conductor is a Glyndebourne favourite with good reason: he ‘gets' Rossini and has a keen ear for tempo and idiom. To be frank, The Barber of Seville can be a bore in the wrong hands, but here it was joy unalloyed...' Mark Valencia, What's On Stage, 23 May 2016
'Cast and conductor have been near-perfectly chosen. Enrique Mazzola is a crisp and elegant master of Italian opera buffa at Glyndebourne, his beat clear and high to make sure no-one on stage slips a beat or gets out of synch in those difficult patter ensembles. The London Philharmonic's phrases and the many solos in the Overture - no newcomer for Barbiere, since Rossini had used it twice before - breathe vocal delight, and inner details like the lower string patterns in the big crescendo register beautifully in the wonderful acoustics.'  David Nice, The Arts Desk, Monday, 23 May 2016
'The London Philharmonic Orchestra is in the pit, offering spruce and vital playing under conductor Enrique Mazzola, who presents every number from the overture to the Act II finale with exemplary character and point.' George Hall, The Stage, May 23, 2016

London Philharmonic Orchestra

Royal Festival Hall

'Pines of Rome is always a work that is a real thrill to experience live in the concert hall, and Mazzola and his players didn’t let us down, from the doggedly stomping double bassists to the brass extras calling from the Royal Festival Hall’s boxes. Yet there was beauty and delicacy, too, and Robert Hill’s clarinet-playing made an eloquent foil to the recorded nightingale of the Janiculum.'

Matthew Rye, Bachtrack 05 December 2015



Glyndebourne Festival

‘[…] superb musical performance, conducted with crisp precision by Enrique Mazzola and played with galvanised conviction by the London Philharmonic Orchestra.’ Rupert Christiansen, The Telegraph May 21, 2015
‘All get firstrate support from the excellent Glyndebourne Chorus and London Philharmonic Orchestra under conductor Enrique Mazzola.’ Richard Fairman, The Financial Times May 24, 2015

Bizet, Berlioz

Vienna Debut


Musikverein und Symphoniker hatten Glück im Pech (...) in letzter Minute gewann der Musikverein den Italiener Enrique Mazzola.

Mazzola erwies sich bei Bizets 1. Symphonie wie bei Berlioz' "Symphonie Fantastique" als souveräner Techniker, der die Werke mit Elan, klaren Konturen und effektvollen dynamischen Kontrasten gestaltet.
Der Standard, Ljubisa Tosic, 4 March 2014
Der Chef des Orchestre national d'île-de-France (...) zeigte sich auch als umsichtiger, herzlich strahlender Advokat des französischen Repertoires. Kronen Zeitung, Karlheinz Roschitz, 4 March 2014


Don Pasquale

Glyndebourne Festival

And there is scintillating playing from the London Philharmonic, with eloquent cello and trumpet solos gracing orchestral interludes and crisp, faultless accompaniments provided for those on stage. In this repertoire Enrique Mazzola has few peers. He coaxes singers through awkward coloratura with a myriad deft tempo variations, fizzes through ensembles with a plethora of perky offbeat accents, and never once loses rapport with pit or stage. A conducting masterclass. Richard Morrison, The Times ****


Mazzola in Paris

Salle Pleyel

At the head of the orchestra - Mazzola delivered all the tenderness and passion required.

Laurent Vilarem
Clearly a great musical and human history has begun between Enrique Mazzola and ONDIF: invaluable training in musical life that cannot be repeated enough. Alain Cochard

Don Pasquale

Theatre des Champs Elysées

"Because under the baton of the very wise, very lively and bright, energetic, but creamy Enrique Mazzola, the Orchestra National de France paid great attention to all the subtleties in the instrumental writing of Donizetti, which was voiced and expressed freely."

AltaMusic, Gerard Mannoni

OAE Debut

Purcell Room

"Cherubini’s Medée is a piece that some of our more enterprising opera companies should think about rediscovering. Enrique Mazzola, an OAE debutant with flair (and a sense of fun), conducted its fizzing overture with verve, and the French mezzo-soprano Stephanie d’Oustrac followed it with a keenly Classical take on this heroine’s Greek tragedy"

Neil Fisher, The Times



De Falla - Orchestre national d'Île-de-France, Enrique Mazzola

After a first album dedicated to Italy and its bel canto, Enrique Mazzola and the Orchestre national d'Île-de-France have crossed the Mediterranean in search of Spain and one of its most emblematic composers, Manuel de Falla. Imbued with bewitching allure of flamenco and carried by the charismatic voice of Esperanza Fernández in the role of Candela, a Gypsy haunted by the ghost of her lover, El amor brujo shares this album with another masterwork, the ballet suites from Le Tricorne.


Don Pasquale

DONIZETTI Don Pasquale

Conductor: Enrique Mazzola
Director: Mariame Clément 
Cast: Alessandro Corbelli, Nikolay Borchev, Alek Shrader, Danielle de Niese, James Platt, Anna-Marie Sullivan

Glyndebourne Festival Opera
The Glyndebourne Chorus
London Philharmonic Orchestra

Opus Arte