At 70, renowned cellist Yo-Yo Ma continues to explore and embody a multifaceted approach to music and community engagement, defying traditional expectations of aging performers. During a recent visit to Denver where he performed Dvorak’s Cello Concerto with the Colorado Symphony at Red Rocks Amphitheatre, Ma reflected on a career that spans decades and a lifelong curiosity that fuels his work beyond the concert stage.

Born in France to Chinese immigrant parents, Ma began playing the cello at a young age and quickly gained international recognition. By seven, he was performing for prominent figures, including President John F. Kennedy, under the baton of Leonard Bernstein. As a teenager studying at Juilliard, Ma began questioning the conventional path of a classical musician, feeling that relentless achievement provided only fleeting satisfaction. This led him to earn a bachelor’s degree in anthropology from Harvard, a field he says he never truly left, informing much of his artistic and humanitarian outlook.

Throughout his career, Ma has combined musical excellence with a commitment to cultural exchange and social connection. He founded Silkroad, an ensemble promoting multicultural collaboration, and has embarked on projects such as the Bach Project and Our Common Nature, which aim to unite diverse audiences through shared experiences. His concerts often transcend traditional performance, incorporating spoken word and interactive elements. For example, a recent marathon recital in Boston featured the complete Bach cello suites alongside audience writing exercises imagining their communities in 2050, and culminated with an encore alongside Boston’s mayor, Michelle Wu.

While his community initiatives have drawn some criticism for perceived idealism and occasional disconnect with local audiences, Ma’s ability to engage listeners remains evident even when experimenting with unconventional formats. An autobiographical performance at the Grand Ole Opry earlier this year elicited mixed reviews for its structure but ultimately connected with the audience during a contemplative piece by Arvo Pärt.

Physically, Ma acknowledges the challenges that come with age, including moments of imperfect intonation and adjustments in technique during recent performances. His daughter, a fellow musician, has openly chastised him for occasional lapses in tuning. Nonetheless, Ma maintains a full schedule and approaches his work with humor, describing himself as “retired” but only doing what he wants. At the core of his outlook is a determination to remain curious and engaged, stating that he hopes to preserve that quality “until I die.”

Through his blend of musical mastery and broad cultural engagement, Yo-Yo Ma continues to redefine what it means to be an artist at 70, embracing both the rigors and the possibilities of a lifelong creative journey.