BEIJING, July 7, 2025 /PRNewswire/ — In recent years, Chinese culture has been blooming in all its diversity, continuously achieving remarkable success overseas. In this Cultural Outreach Talk series, Global Times invites insiders from different cultural fields to share their experiences and insights into the “going global” of Chinese culture.
Lü Jia is the Artistic Director of Music at the National Centre for the Performing Arts (NCPA) and Music Director of the China NCPA Orchestra. Prior to that, he served as the Music Director of the Verona Opera House, Artistic Director of the Santa Cruz De Tenerife Symphony Orchestra, and the Music Director & Chief Conductor at the Macao Orchestra and Trieste Opera.
Born into a musical family in Shanghai in the early 1960s, Lü began studying piano and violin with his parents at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing. He was the first Chinese conductor ever to lead the Chicago Symphony Orchestra and to record the complete orchestral works of German composer Felix Mendelssohn. His symphonic performances, especially his interpretations of German works and those of the French Impressionists, have been praised as examples of “an extremely convincing musical interpretation” and “touching musical language.
Global Times (GT) reporters Ji Yuqiao and Liu Yating spoke with Lü Jia (Lü), about how to present the interpretation from Chinese musicians on classic music and promote Chinese music on the world stage.
GT: You achieved great success in Europe early in your career. What prompted you to leave everything behind and return to China to develop Chinese music?
Lü: The decision to return is rooted in my personal story. I left China in 1988 to study abroad and began working in 1991. It wasn’t until 2012 or 2013 that I returned to Beijing and the National Centre for the Performing Arts (NCPA). One major reason was the solid and expanding foundation of music in China. The establishment of the NCPA was a significant milestone; in terms of scale, organization, and structure, it is one of the world’s largest comprehensive opera houses. This was a strong attraction for me, especially since opera is my primary field – I started my career as a music director at an Italian opera house in 1991. I also felt a sense of responsibility, having benefited greatly from the selfless help of many people during my years of study and work in Europe. I hope to pass on what I have learned and help others, especially the younger generation of Chinese musicians, so they can avoid unnecessary detours in their careers.
GT: What are the advantages and unique characteristics of the NCPA Orchestra when performing overseas? Any memorable audience reactions?
Lü: Our orchestra’s strengths are its youth, passion, and drive. As a Chinese orchestra, we are familiar with both Chinese music and that of the outside world, which makes others curious about us. The NCPA Orchestra represents the highest artistic standard in China for symphonic and operatic music. We have achieved significant success on international tours, including in Republic of Korea, the United States, and Europe. After our performances, audiences have sometimes risen collectively for standing ovations – they did not expect such a high standard from a Chinese orchestra. We are still a young ensemble; when we first toured the US, we had only been established for three years, and our average age was just 35.
GT: When performing at home and abroad, how do you approach repertoire selection and balance international and Chinese elements?
Lü: Programming varies. Abroad, we consider the local orchestra, the opera house, and the age diversity of musicians. In China, although our orchestras are young and capable, there are still cultural gaps, so repertoire choices must also educate and elevate the audience and the ensemble. We often invite guest conductors and select works that motivate and challenge the musicians. When performing overseas, we always include Chinese pieces – like The Yellow River Piano Concerto – using the symphony orchestra as a medium to share our stories. It is important to present our culture using universally recognized forms and standards.
GT: You have linked music with color. What colors do you associate with Chinese classical and traditional music?
Lü: Music is highly abstract; everyone perceives color in music differently. Western music is logical, structured by harmony, while Chinese music pursues atmosphere and imagination, not logic or dramatic development. Ancient Chinese music often aims for the highest artistic realm with just a few notes. Our traditional music focuses on the pursuit of artistic conception and imagination.
GT: When Chinese musicians use Western instruments to perform Chinese works, how do you convey cultural authenticity and appeal to foreign audiences?
Lü: Playing Chinese music on Western instruments inevitably loses some authenticity, but what matters is conveying the spirit of our culture, not literal imitation. Just as the painter Zao Wou-Ki’s works, though Western in form, are recognized as distinctly Chinese, so our music should communicate the essence of Chinese culture through a language the world can understand. True cultural confidence is shown through universal expression, not just local dialects or folk songs.
GT: How can Chinese music balance tradition and innovation on world stage?
Lü: For small-scale works, an atmospheric approach works, but larger works require contrast and dramatic color, which calls for Western compositional techniques. Chinese composers must use these tools to fully realize, share Chinese music with the world.
GT: What are your future plans internationally, and what is your vision for Chinese music going global?
Lü: We have ongoing and upcoming international collaborations and tours, including in the US, Europe, and the Arab world. The growth in China’s concert halls and audiences is remarkable. Going forward, we need talent in management and administration to keep pace with our expanding infrastructure.
