Lucia Zicos holds a Doctorate in Music from Universidad Católica Argentina and is developing a prominent career as a conductor both in Argentina and abroad.
She completed her studies with important and recognized maestros such as Thuring Bräm (Conservatory of Lucerne, Switzerland), Tomas Koutnik (Music Academy in Prague, Czech Republic), Gunther Schuller (Germany), Diego Masson (France) and Charles Dutoit (Switzerland). In 2011 she was selected by Benjamin Zander (Boston Philharmonic) to participate in the “London Masterclass” (Royal Academy of Music, England).
Due to her renowned versatility and great musicality, she has conducted the most diverse genres ranging from large musical projects to small ensembles. Since being awarded with the first prize at “La Boheme Opera Competition” (San Juan Opera House-Argentina), she has gained extensive experience in the field of opera, becoming a well-respected opera conductor.
Lucia had her international debut in England, conducting “Eugene Onegin” (Tchaikovsky) and “Le nozze di Figaro” (Mozart) as head of the DFO at the “Dartington International Summer School”. At the Sofia Opera (Bulgaria) she performed “La Boheme” (Puccini) “Cosi fan tutte” (Mozart) and “Aida” (Verdi), and at the “International Summer Opera Festival” (Hradec Kralove, Czech Republic) conducted “Il Trovatore” (Verdi).
Among other operas, she has conducted “Pagliacci” (Leoncavallo), “Cavalleria Rusticana” (Mascagni), “Carmina Burana” (Orff), “La Boheme” “Tosca” (Puccini), “Barber of Seville” (Rossini) “Il Trovatore” ”Traviata” “Rigoletto” (Verdi), “Samson and Delilah” (Saint-Saens) and “Romeo and Juliet” (Gounod), all for the San Juan Opera House – Argentina; and “Loreley” (Catalani), for La Casa de la Opera – Adelaida Negri at the Avenida Theater in Buenos Aires.
As part of the Argentinian Performers Cycle held at Teatro Colón, she conducted the Orchestral Academy (ISA), the Children’s Choir and distinguished soloists.
She performs regularly leading important national and international orchestras: Rosario Provincial Symphony, Cuyo University Symphony, Mar del Plata Symphony Orchestra, San Juan University Orchestra, Mendoza Philharmonic Orchestra, Bahía Blanca Provincial Symphony, Hradec Kralove Philharmonic Orchestra, North Bohemian Orchestra (Czech Republic), Matanzas Symphony (Cuba), Antofagasta Symphony (Chile), Washington University Orchestra (USA).
Lucía Zicos served as Assistant Conductor to the most important Opera House in South America, Teatro Colón. She worked with the “Buenos Aires Philharmonic Orchestra”, as well as with the “Academic Orchestra” as musical coach and guest conductor (symphonic, operatic and ballet performances with Teatro Colón´s soloists). She has also performed as Principal conductor of the “Academic Orchestra Chamber Ensemble”. She was the Principal Conductor of the Symphonic Band of Buenos Aires during the 2011 Season.
She has been invited to participate in major courses and competitions in which she has conducted the “Orchestra of São Paulo State (OSESP-Brazil), “Symphonic Orchestra of Concepción (Chile),”Carlos Chavez Symphonic Orchestra (Mexico), “Orchestra of Cadaqués” (Spain).
Her experience conducting children and youth orchestras led her to collaborate in various festivals, meetings and seminars through consultancies, workshops and training. She also participated as a guest conductor in the opening concert of the Alaíde Foppa Young Women Symphony Orchestra, in Guatemala, with the support of UNESCO, ONU Mujeres, and the Argentinian Embassy, among other institutions.
She was in charge of the musical direction of the album “Ausencias”, winner of a Latin Grammy 2014 and of the album “Mágica y Misteriosa” awarded in the category “Best classical music album” at the Latin Grammy 2018, both with music by the Argentinian composer Claudia Montero.
She is currently a Conducting Faculty member and Academic Coordinator at the Universidad Católica Argentina and Director of the “Ensamble Ecléctico” project.
Her doctoral tesis versed on “Interpretive traditions in Verdi’s Il Trovatore. Comparison between historical recordings and the critical edition of the score”.