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Ronaldo Ferreira Zero

regisseur

“...both the political aspect and the lyricism present in the work emerge powerfully in Ronaldo Zero’s staging...”

Ainadamar – Theatro Municipal de São Paulo

Danielle Crepaldi – Notas Musicais Website

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TERRITORY

Latin America - exclusive

BIO

Ronaldo Zero is a stage director with extensive experience on major stages across Brazil. His work spans opera, theater, concert music, and dance.

As a director, he has staged the operas L’Heure Espagnole (Ravel, 2025) with the Minas Gerais Philharmonic Orchestra; Devoção(Ripper, world premiere in 2024) at the Palácio das Artes; Ainadamar(Golijov, 2023) and María de Buenos Aires (Piazzolla, 2021 and 2024), both at Theatro Municipal de São Paulo, receiving wide critical acclaim.

He also directed Die Verschworenen (Schubert) and Die Entführung aus dem Serail (Mozart), both in 2023 at Theatro São Pedro—the latter in partnership with Jorge Takla. With Jorge, he also co-directed Carmen(Bizet) at Theatro Municipal de São Paulo in 2024.

In 2022, he created and directed Poder Supremo, nominated for the APCA Award for Best Musical Performance.

He served as assistant stage director in productions of major operas such as La Fanciulla del West (Puccini), The Love for Three Oranges (Prokofiev), I Capuleti e i Montecchi (Bellini), Rigoletto (Verdi), The Rake’s Progress (Stravinsky), and The Merry Widow (Lehár), in productions presented at Theatro Municipal de São Paulo, Theatro São Pedro, Palácio das Artes, Teatro Solís, Theatro da Paz, Teatro Amazonas, and other Brazilian venues. He has also worked as a stage manager and collaborated with renowned artists such as Jorge Takla, Gerald Thomas, Davide Livermore, Caetano Vilela, Livia Sabag, Stefano Poda, Pier Francesco Maestrini, Arnaud Bernard, Carla Camurati, William Pereira, Henning Brockhaus, Giancarlo del Monaco and La Fura dels Baus.


REVIEWS

“...both the political aspect and the lyricism present in the work emerge powerfully in Ronaldo Zero’s staging... While the bare stage is central to the production – as the theatrical stage is the starting point for all stories – it is intersected by a set of strikingly powerful visual images... It is worth highlighting the remarkable quality of this performance, led (above all) by fierce women who fully command their roles both vocally and theatrically, a clear demonstration of respect for the realms of music, theater and, indeed, the ideals the work stands for, since we are speaking of a nearly all-female cast proclaiming freedom and equality in a world where women are still overlooked in favor of men...” Ainadamar, O. Golijov – Theatro Municipal de São Paulo Danielle Crepaldi – Notas Musicais Website, 2023 “...what’s particularly interesting is how Ronaldo Zero’s direction of the actors navigates the space between the concrete and the fantastic, with Mariana also present on stage...” Isolda Tristão – Theatro Municipal de São Paulo João Luiz Sampaio – Concerto Magazine, 2023 “...archival footage – many scenes of old Buenos Aires – is interwoven with live filming on stage, all edited in real time and projected onto two screens: a giant one that spans the entire back of the stage and a smaller one made of velvet... It may sound like a lot, but in fact, María’s story demands this overflow of meaning... it radiates life, creativity, and good taste.” María de Buenos Aires – Theatro Municipal de São Paulo Sidney Molina – Folha de São Paulo Newspaper, 2021 “The premiere of Devoção first took place at the Sanctuary of Bom Jesus de Matosinhos, in the town of Congonhas... and later at the Palácio das Artes in Belo Horizonte, with the complete stage direction by Ronaldo Zero... The visual refinement, across the wide proscenium of the Palácio das Artes, yielded beautiful results. The village scenes were rich in color and highly impactful.” Devoção (J. G. Ripper) – Palácio das Artes, Minas Gerais Márvio dos Anjos – O Globo Newspaper 2024

OPERA REPERTOIRE

CONCERT REPERTOIRE

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