“The champagne of Bernstein's Candide overture was brilliantly uncorked... Finally came Tchaikovsky's Romeo and Juliet, played with tremendous ardour and shrewd dramatic timing under Zeffman's baton.” - The Telegraph

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“A crowd-pleasing finale, Zeffman's conducting of the Tchaikovsky [Romeo & Juliet] was nonetheless steeped in pathos, while the opening Bernstein (the overture to Candide) was ribald excess.” - The Times

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“Zeffman has a neat and economical style of conducting that oozes meticulousness, yet allows room for emotion...”- Music OMH

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“A young conductor with a record of getting things done” - Gramophone, May 2023

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“...an entrepreneurial tour de force” - BBC Music Magazine, 2023

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“...Zeffman's sculptural, clean-lined performance of Stravinsky's Apollo, and an account of Caroline Shaw's now-ubiquitous Entr'acte that manages to squeeze real emotion from the gaps...There's a real ebullience and sense of forward momentum to Zeffman's [Beethoven] Pastoral; a muscular, 'big-band' modern instrument reading” - Gramophone, June 2023

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“The soloist could rely on the complicity of Oliver Zeffman, whose detailed, mobile and sensitive accompaniment allowed him to follow through on his intentions. From [Helen Grimes']'Virga', placed at the top of the programme, the relief and the inner abundance with which the music flourishes, show a conductor master of his subject. A leader to follow, without a shadow of a doubt!” - Concert Classic, November 2022

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“...memorable, musical, and put together by someone who not only knew what he wanted but, to an extraordinary degree for his age and experience, knew how to get it.” - The Telegraph

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“You only need watch the final credits to understand the scale of the ambition. The logistical feat is overshadowed by their commitment to artistry, though.  Eight Songs make a collection of pieces that expand out of the confines of their format. It’s the attention to detail that sets Eight Songs apart from similar projects.The balance of uniformity and creativity... means it’s an impressively consistent end-product. One of the most creative operas we’ve seen during lockdown.” - The Cusp, reviewing 'Eight Songs from Isolation'

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“A rare kind of unison… a mouthwatering, globe-spanning cast of talent… a remarkable document of these strange times that encourages us to consider the precious things that bind us. Love, friendship, connection, community, nature, music.” - Dan Cairns, The Sunday Times, reviewing 'Eight Songs from Isolation'

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“The internet is already brimming with new operas specifically written for streaming… the most prestigious offering so far is 'Eight Songs from Isolation', commissioned by conductor Oliver Zeffman. The music is a cut above the competition…” - Richard Fairman, Financial Times

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“Eight Songs from Isolation’ proves that remote collaborations can succeed if classical musicians abandon conventions that belong to the proscenium. …it brings a serious musical response to these times onto listeners’ screens and into their homes.” - The Economist

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“The orchestra, under the baton of Oliver Zeffman, sounded transparent and weightless throughout, supplementing and colouring the story and only releasing their full force at the most important climaxes of the action.” - Mariinsky Gazette, reviewing London Chamber Orchestra performance of George Benjamin's 'Lessons in Love and Violence' 

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“All this was brought together under the expert baton of Oliver Zeffman (the Classical Music nominee for The Times Breakthrough Artist Award at the 2018 South Bank Sky Arts Awards). Zeffman creates a real sense of flow, sensing the work’s architecture brilliantly, allowing the strength of Rubinstein’s music to come through strongly.” - Colin Clarke, Seen and Heard International, reviewing Rubinstein's 'The Demon' with Chelsea Opera Group

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“Zeffman has definitely made his mark with this show. Ambitious and expert, it won’t be long before be's making his mark on larger stages.” - Alexandra Coghlan, The ArtsDesk, reviewing performance of Benjamin's 'Written on Skin' with Melos Sinfonia

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“Oliver Zeffman, still in his early 20s, once again scored an operatic success, taking on Benjamin’s meticulous, iridescent, sometimes slow-burning score with complete assurance.” - Opera Magazine review of George Benjamin's 'Written on Skin' with the Melos Sinfonia

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“Zeffman revels in the score’s jagged climaxes and spine-chillingly eerie textures.” - Richard Morrison, The Times, reviewing George Benjamin's 'Written on Skin' with the Melos Sinfonia

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“...conducting was the staggeringly confident and competent Oliver Zeffman - who...despite a cool demeanour on the podium is dynamite in a compact frame.” - Classical Music magazine reviewing Mozart's 'Die Entführung aus dem Serail' with West Green House Opera 

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“...the Turkish music jangled splendidly under the baton of Oliver Zeffman...and the score emerged with captivating freshness, whether in passages of exquisite, floating delicacy or an epic Act 2 quartet that rode a wave of energy.” - Opera Magazine reviewing Mozart's 'Die Entführung aus dem Serail' with West Green House Opera 

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“…a performance of Puccini’s opera to match what one might hear in the most exalted of houses…Try as I might I could not find anything to fault.” - Mark Berry, Seen and Heard International, reviewing performance of Puccini's 'Il tabarro' with the Melos Sinfonia