About Faidra
Born in Athens, Faidra Giannelou is a Greek conductor whose career spans continents and genres. A graduate of the Ionian University, where she earned both a Bachelor’s and Master’s in Orchestral Conducting under Prof. Miltos Logiadis, Faidra is also a Ph.D. candidate in her field. Her collaborations include prestigious orchestras across the United States, Europe, and Asia, and she has participated in masterclasses with internationally renowned conductors.
Faidra’s artistic engagements as Principal Guest Conductor include the Athens State Orchestra, Greek Radio Symphony Orchestra (ERT), and international ensembles such as Sistema Europe Youth Orchestra and Canadian Brass. Her accolades include a second-place finish at the International Competition for Young Conductors “Solon Michaelides” and participation in the Global Leaders Program, an esteemed initiative combining music and social entrepreneurship.
Faidra also nurtures future talent, teaching orchestral conducting at the University of the Aegean and conducting choirs such as “Choremus” and the Chios Choir. Her dedication to her craft and global artistic vision position her as a leader shaping the future of classical music.
How do you adapt your approach to resonate with musicians from different cultural backgrounds?
Music has a wonderful characteristic: it is a universal language. Therefore, I don’t need to change my approach when conducting different types of ensembles. Whether they are professionals, amateurs, children, or adults, the music remains the same, and so does the approach. As a conductor, my role in every situation is to convey to the musicians my vision for the piece we are working on and to inspire them to perform it to the best of their ability. Of course, the way I communicate and explain things varies depending on the ensemble, but ultimately, my goal is for everyone to enjoy making music together.
How does conducting a contemporary ensemble differ from leading a traditional symphony orchestra? Do you prefer one over the other?
Conducting contemporary music typically requires more complex gestures from the conductor compared to traditional symphonic works. It also demands specialized knowledge of reading scores and understanding how contemporary composers treat musical instruments. Composers often experiment with the capabilities of instruments, requesting “special effects” from musicians. The conductor must understand what the composer wants to achieve and help the musicians produce these sounds. On the other hand, conducting symphonic repertoire isn’t easy either. While it may lack “special effects,” it often carries a history of monumental interpretations by legendary conductors. In this case, the conductor must have a personal perspective on the work, communicate it effectively, and defend it before the orchestra. Both situations are challenging in their own way. I can’t choose between them. Ideally, I’d like to balance both in my career for a well-rounded musical journey.
What is the most impactful lesson you learned from studying under Miltos Logiadis? Is there a memorable piece of advice from any of the masterclasses you’ve attended that continues to influence your work?
During my studies with Miltos Logiadis, he was conducting the Orchestra of Colors, which was founded by Manos Hadjidakis to perform works primarily by contemporary Greek composers. Under his mentorship, I developed strong fundamentals in conducting and was introduced to the world of music through a conductor’s lens. We had many discussions about interpretation, and I had the privilege of observing him closely during rehearsals and performances with the Orchestra of Colors. Watching him build a concert from start to finish was the most valuable lesson I learned.
From the masterclasses I’ve attended, the connection with instructors wasn’t as personal as with my mentor, but I’ve retained many useful and practical tips. One piece of advice was to conduct every orchestra, especially children’s or youth ensembles, as if it were the best professional ensemble. The instructor meant that I shouldn’t simplify my gestures for amateur orchestras, assuming they wouldn’t understand. Instead, I should treat them with the utmost professionalism. This turned out to be very wise advice!
Are there specific composers or pieces that you feel particularly connected to, and why?
I find that my preferences change depending on the phase of life I’m in, which is fascinating. Right now, I’ve returned to the composer I admired as a child, J.S. Bach. I never stopped admiring him, but during my student years, I became passionate about many other composers and works I encountered and studied. My return to Bach stems from realizing how much his music brings me peace. This sense of tranquility is one of music’s primary roles, something we professional musicians often forget.
How do you approach interpreting lesser-known or contemporary works, for instance by Greek composers, to make them accessible to your audience?
Contemporary music is often complex to understand, even for musicians performing it. When working on such a piece, I try to put myself in the audience’s shoes during my study process. This mindset helps me address the gap that often exists between the composer and the audience and find solutions for the most challenging aspects of the work. I believe my role as a conductor includes bridging the gap between the work itself and the audience, in addition to bringing the composer’s vision to life. If permitted, I find it helpful to explain certain elements of the piece to the audience beforehand. This way, they feel involved in the process and engage more actively.
What unique insights or findings have you uncovered about conducting, and how has it informed your work on the podium?
Over the years, I’ve discovered that a conductor must serve as the channel through which the music flows. You need to transmit the vibes and facilitate the process without trying to control everything. As I grow older, my gestures become fewer, and I focus more on conveying my musical ideas in more intellectual ways.
How do you see your work contributing to the global appreciation of Greek cultural heritage, and what role do you believe the diaspora can play in supporting this effort?
Whenever I travel abroad, I realize how highly Greece is regarded by other countries, particularly due to its ancient history and ancestors. In the field of conducting, Dimitris Mitropoulos paved the way for Greece’s recognition in the early 20th century. Today, there are many Greek conductors and composers building international careers, which is very encouraging. Since pursuing an international career as a composer or conductor requires immense effort and sacrifices, I believe the Greek diaspora can help by inviting these artists to present their work and by organizing more classical music concerts abroad.
Why do you believe young people should get involved with music? What benefits can they gain from this experience?
Whether or not one becomes a professional musician, engaging with music offers countless benefits for young people. First and foremost, learning music teaches discipline, patience, and perseverance. These virtues are instilled from an early age. Most importantly, in my view, is the emotional expression it allows. Music offers an escape and a journey for the mind, providing a way to release profound emotions that words cannot capture.
