Conner Covington’s path to the podium is one marked by discipline, versatility, and a lifelong love for music. With roles ranging from symphonic to operatic conducting, Covington has built an impressive career grounded in technical excellence and emotional depth. From his early days as a violinist to his current work with major orchestras, Covington’s story is about more than conducting—it’s about shaping performances that connect deeply with audiences and musicians alike.

Covington’s musical journey began unexpectedly with a love for golf. As a fifth-grader in his public school music program, he initially took up the violin after being promised rounds of golf by his mother in exchange for practicing. Though he started late for a string player, the instrument quickly became his passion, leading him to the High School for the Performing and Visual Arts in Houston. It was there, as a senior, that Covington conducted for the first time and discovered his true calling. “From that moment, I was hooked,” Covington recalls.

His early conducting experiences during his undergraduate studies proved invaluable. At the University of Houston and later at UT Arlington, Covington had opportunities to conduct ensembles while pursuing his violin degree. “Conducting groups during my undergrad really gave me the podium time I needed,” he shares. This hands-on experience prepared him for graduate studies at the Eastman School of Music and a pivotal two-year post-graduate diploma at the Curtis Institute of Music, where he studied with influential conductors such as Yannick Nézet-Séguin.

Nézet-Séguin played a crucial role in shaping Covington’s musical instincts, encouraging him to take risks and embrace bold musical choices. “One of the first things Yannick told me was, ‘It’s clean, it’s clear—and it’s a little boring,’” Covington laughs, recalling a rehearsal of Debussy’s La Mer. “He really pushed me to take risks, even if things fell apart.” Another mentor, Robert Spano, taught Covington the importance of showing musical intent through gesture rather than words, a lesson Covington carries into his rehearsals today.

One of the defining moments in Covington’s career came during his four-year tenure as Associate Conductor of the Utah Symphony and Principal Conductor of the Deer Valley Music Festival. His time in Utah provided him with extensive podium time—nearly 300 performances in total—allowing him to refine his craft and build strong relationships with the orchestra. “The only way to learn how to conduct is to conduct,” Covington reflects. “You can’t just sit in the hall and watch—you have to get on the podium and do it.”

Covington’s recent projects showcase his versatility. This year, he made his Canadian debut with the Vancouver Symphony Orchestra, and this month debuted with the San Francisco Symphony, conducting a film-in-concert performance of Coco. “It’s a tricky score with lots of singing, so the timing has to be perfect,” Covington explains. “What makes these live film concerts so exciting is that they really highlight the orchestra.” For Covington, film music—especially the works of John Williams—offers as much artistic satisfaction as traditional repertoire. “There’s an operatic quality to these scores, with leitmotifs that emerge just as characters appear on screen,” he says.

Looking ahead, Covington is excited about a personal milestone—his debut with the Knoxville Symphony Orchestra, which holds sentimental value as the first professional orchestra he ever heard growing up just outside the city. “It’s going to feel like a real homecoming,” he says, anticipating the emotional resonance of the performance.

Although Covington has primarily focused on symphonic conducting, he hopes to delve deeper into opera in the coming years. His recent experience conducting Mozart’s Marriage of Figaro with Utah Opera reaffirmed his love for the art form. “I want to find a balance between symphony and opera,” he explains. “Opera offers a completely different type of storytelling, and I’d love to tilt more toward that world in the future.”

In terms of promotion and visibility, Covington admits that self-promotion doesn’t come naturally to him. “I’m not the biggest fan of social media,” he says, though he recognizes the importance of staying visible in today’s industry. “It’s a necessary part of the job—you are a brand, and you have to keep people aware of what you’re doing.” Despite his reservations, Covington continues to share updates about his projects, knowing that building relationships and staying top-of-mind with orchestras and collaborators is essential for a successful freelance career.

When asked about his long-term goals, Covington emphasizes the importance of artistic integrity. “I hope I’m remembered as someone who always put the music first,” he says. “For me, conducting is about serving the music and the musicians—not about ego. We’re all re-creative artists, and it’s our job to let the composer’s ideas flow through us.” His philosophy reflects a grounded approach to leadership—one that prioritizes preparation, respect, and authenticity.

Outside of music, Covington enjoys skiing, a passion he developed during his time in Utah. “I’ve been skiing since I was about six years old, and I always look forward to hitting the slopes whenever I can,” he says. If he weren’t a conductor, Covington imagines himself either as a lawyer practicing constitutional law or as a national park ranger, indulging his love for nature.

For Covington, success is a balance between hard work and contentment. “It’s about doing the best you can and being satisfied with where you are at different stages of your life,” he reflects. As he continues to explore new artistic opportunities, Covington remains committed to his vision of music as a collaborative and meaningful experience. With upcoming performances that span continents, genres, and styles, Covington’s career is a testament to the power of versatility, passion, and lifelong learning.

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