Conductor Michael Summers has always believed in the power of music to transcend borders. But it wasn't until his first trip to China that he truly experienced how transformative cultural exchange between East and West could be.
His journey began in 2015, when a former student — who had studied with him in Europe — invited him to collaborate with a Chinese orchestra in Nanning, the capital of South China's Guangxi Zhuang autonomous region. Excited but unaware of what lay ahead, Summers couldn't have imagined this would mark the beginning of a deep, ongoing relationship with China's rich musical heritage.
Since that first visit, he has returned to China four times, performing concerts and conducting masterclasses in cities across the country. But one of the most extraordinary chapters in his Chinese experience unfolded in the breathtakingly remote region of Guangxi.
There, Summers was invited to participate in a televised production by working with Guangxi Radio and Television held at the Dashiwei Sinkhole National Geopark in Leye county, Guangxi.
The performance took place on a glass platform suspended above the vast sinkhole — an awe-inspiring natural amphitheater surrounded by misty cliffs and ancient forests. As spectacular as it was challenging, the setting pushed Summers and his fellow musicians into new creative territory.
Working closely with Chinese performers, Summers helped create a unique musical fusion: blending the iconic Italian aria Time to Say Goodbye with the beloved Chinese folk song Jasmine Flower. The goal was to merge the emotional power of Western opera with the delicate beauty of Chinese melody.
"It was magic," Summers recalls. "As we rehearsed, we realized how naturally the two songs complemented each other. There was a shared emotional resonance that transcended language and style."
Summers describes the entire experience as "something out of a dream". Despite having conducted in some of the world's most renowned venues, he says this performance stands out as one of the most memorable.
The orchestra that joined him in Guangxi was composed of young, exceptionally talented Chinese musicians. What struck him most was their connection to both the music and the land.
"I remember watching how they responded to the environment," he says. "They weren't just playing notes — they were expressing something deeply rooted in their culture. It was beautiful to witness."
Reflecting on his time in China, Summers is still moved by the passion and commitment he saw in the next generation of musicians. "I came with certain expectations," he admits, "but I found an entire generation eager to learn, to engage, and to contribute to the global classical tradition."
Inspired by these experiences, Summers is now pursuing a vision that could further bridge East and West: the creation of the Venice Philharmonic Academy. This international institution, based in Venice, aims to bring together young musicians from around the world — especially China — to study classical music within the rich cultural context of Europe.
"I want to create an environment where students not only improve their technical skills but also understand the 'why' behind the music," he says. "Context is essential for any performer."
The academy will be grounded in the same spirit of cultural exchange that Summers encountered in China. By gathering students from diverse backgrounds, the academy will foster an environment where musical traditions are explored, celebrated, and reimagined.
