Ming Luke isn’t your typical conductor. He’s a musician who refuses to be categorized—whether it’s conducting ballet, opera, or symphonic works, he seeks a connection between all genres, drawing out the common thread of emotional storytelling that ties them together. In a recent conversation, Luke described his versatile career and the philosophy that drives his artistic choices. He’s worked with ballet companies across North America, conducted powerful works by composers like Shostakovich, and collaborated with mentors who helped shape his professional path. But for Luke, music is about more than just technical skill; it’s about creating transformative moments that resonate deeply with audiences.

"I am a conductor,” Luke begins, making a point about his approach to the field. "In the U.S., conductors often get pigeonholed—you’re either an opera conductor, a ballet conductor, or a symphonic conductor. For me, it would be silly to limit oneself to a certain genre." This belief has guided Luke's career, where he has continually embraced diversity in his work. Tchaikovsky didn't just compose symphonies, Luke notes—he wrote ballets, operas, and orchestral pieces, all of which deserve a unified approach. This perspective is reflected in Luke’s professional life, which spans the worlds of ballet, symphony, and opera, where he moves effortlessly between different styles and formats.

One of the major breakthroughs in Luke’s career came through his mentor, Michael Morgan, a conductor in California who provided Luke with the opportunity to fill in for a subscription concert. This pivotal moment set Luke on a path filled with opportunities that have since defined his journey. Another influence has been Kent Nagano, whose creative approach and deep understanding of scores left a lasting impression on Luke. Watching Nagano’s rehearsals inspired him to push the boundaries of what could be expressed through orchestral sound.

Luke shared one of his most impactful musical experiences: conducting the Bolshoi Orchestra in Moscow for Shostakovich’s Piano Concerto No. 2. The profound stillness and quiet that the orchestra achieved in the opening of the second movement were transformative. "It was life-transforming," Luke said, describing the delicate, devastatingly quiet tone that seemed to create a contrast that allowed the piano to emerge like sunlight breaking through clouds. "The contrast that the orchestra created was stunning," he reflected, noting that moments like these remind him of the deep emotional power that music can convey—power that is difficult to replicate but unforgettable when experienced.

A significant part of Luke's work involves conducting for ballet, a genre that holds a special place in his heart. "Ballet is actually one of the reasons I got into conducting," he says. Having danced a little himself in his youth, Luke has always been fascinated by the visceral connection between movement and music. This season, he has an impressive lineup of engagements with ballet companies in San Francisco, Houston, Nashville, Cincinnati, Sacramento, and even Winnipeg. His work with the San Francisco Ballet, conducting Tchaikovsky’s Nutcracker, was particularly memorable because of the deep historical connection the company has with the piece—it was the first company to premiere the Nutcracker in the U.S.

For Luke, conducting ballet is about more than just keeping time; it’s about capturing the essence of a dancer’s movement and translating that into musical expression. "When a dancer does a développé—extending their leg—the quality of that movement should be reflected in the music. Is it virtuosic, or is it slow and beautiful? My goal is to create compelling performances where the music and movement are inseparably linked," he explains. His upcoming work includes conducting Prokofiev’s Romeo and Juliet, a piece that was on his career bucket list. “I always wanted to conduct the full ballet, not just the suite,” he shares. It’s this kind of immersive artistic goal that drives Luke forward.

In addition to his work with ballet, Luke is exploring other cross-genre projects. He will conduct the score for Disney’s Fantasia at Festival Napa Valley, blending live orchestral music with film. Luke's background is also deeply rooted in vocal music; he studied at Westminster Choir College, where he worked as an accompanist, and this love for the human voice still shapes much of his approach today. “Opera takes up a lot of time, but it’s so rewarding. My goal is to find a balance where I can include all these different types of projects,” he says, striving for both artistic fulfillment and personal balance.

Looking further ahead, Luke wants to dive deeper into storytelling in music, connecting audiences not just with what they hear but with the stories behind the works. He’s particularly passionate about sharing the context and narratives that bring these compositions to life. “Sometimes, the stories behind the music are what give the piece its emotional power, and I think we don’t dive into those enough,” he notes. As an example, he mentions Beethoven’s Eroica Symphony and its ties to the ideals of the self-made individual, as well as Rachmaninoff’s Symphonic Dances, which reflect the composer’s journey to acceptance and redemption. “These are the kinds of stories that should be told more often in concerts,” Luke asserts, emphasizing the importance of context in enhancing the concert experience.

In terms of promotion, Luke admits that it’s not something that comes naturally to him. He uses social media to stay connected with audiences, but much of his career growth has been driven by word of mouth and the buzz generated by performances. He occasionally worked with a publicist, especially during the pandemic, when staying visible was particularly challenging for artists. "I'm really terrible at this," he laughs, admitting that marketing is not where his natural strengths lie. Instead, Luke prefers to focus on the art itself, hoping that compelling performances will speak for themselves.

When asked about success, Luke’s definition is far from conventional. "It’s less about perfection and more about creating something compelling,” he explains. His goal is to create performances that connect deeply with audiences, musicians, and dancers alike—performances that leave everyone transformed. He speaks of Leonard Bernstein as a major influence, especially Bernstein’s infectious enthusiasm and ability to bring together different facets of a performance. "Success is when everyone—whether it’s the audience, the orchestra, or the dancers—feels transformed by the performance," Luke says.

Beyond music, Luke is an avid chess player and a passionate foodie. He recalls organizing chess competitions as a teenager and still plays regularly on chess.com. His love for food ties into his passion for understanding culture. “Dining at a restaurant can be like a window into someone’s background or a culture,” he shares, recalling an Indian chef in Nashville who served a dish reminiscent of his childhood. Luke views these experiences as another way to explore the world, much like he does through music.

Ming Luke’s journey as a conductor is one of relentless exploration and a refusal to be boxed in by labels or genres. He brings a deep curiosity and enthusiasm to every project, whether it’s a ballet, an opera, or a symphonic performance, always striving to find the deeper story that can connect everyone involved. With his work spanning so many genres and his dedication to enhancing the audience’s experience through storytelling, Luke is transforming the way we think about the role of a conductor—not just as a leader of musicians, but as a storyteller, an explorer, and a connector.

Listen to the episode today on Apple Podcasts, Spotify, or wherever you listen to podcasts.

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