Born in Ragusa, Enrico Luca began studying music at the age of 7. He graduated in modern flute under the guidance of Elena Favaron at the Conservatory of Catania.  He studied with S. Vella, M. Caroli, A. Persichilli, R. Fabbriciani, G. Pretto, P. Gallois, J. Zoon and L. Pontecorvo. His passion for Baroque music led him to study traverso and historical flutes with Marco Brolli at the Claudio Abbado Civic School in Milan, graduating with honors.
He has collaborated with Il Giardino Armonico, Orchestra Barocca SìBarÓ, Orchestra Barocca Siciliana, Orchestra Cremona Antiqua, Enrico Onofri.
He is teaching modern flute at the Convitto Nazionale P. Longone in Milan and traverso at the Conservatory of Terni.
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The first thing you do when you pick up your traverso to start the practice day, and why?
My practice session always takes place in front of a mirror and begins with the emission of the sounds of the first and second octave, looking for the resonance and softness of the sound, avoiding tensions of any kind (lips, hands, posture).
Any recurring piece to play every day, and why?​
I don't have "daily" pieces, but periodically I have J.S. Bach's Partita and Telemann's 12 Fantasies on the music stand. The pieces for solo flute of the Baroque period contain both melodic and bass parts and require special attention to harmony, which is obviously not made explicit with the numbered bass. All this requires the flutist to search for both sides (such as the fugues present in Telemann's fantasies). I consider the Partita very useful and stimulating, as well as from a musical point of view, for the stamina and sound quality that is required for the entire duration of the piece, and for the timbral variety in all registers (up to the A of the third octave!).​
Do you have a daily routine?​
I divide my practice between the modern flute and the various historical flutes. I start my practice day with modern and immediately after I move on to historical instruments. I found this mode excellent for me, as it allows me not to leave out any flute and at the same time to translate my skills to the various instruments. I find that in the modern flute some aspects are extreme: extension (from B low to E of the fourth octave), volume and dynamic excursion, timbre variations, amount of air, weight of the instrument. Starting with modern personally helps me to take care of all these aspects effectively. In general, I try to vary the type of exercises to keep the level of concentration high and prevent it from becoming just a "routine".
What kind of goals do you set for your practice?​
The focus is often on the preparation of the next concert program. An ever-present goal in all sessions for me is sound quality.​
Do you do any systematic warm-up?
Certainly, my warm-up is aimed at "focusing" and flexibility of sound. A well-centered sound also helps me a lot in the movement of my fingers and all the related technique aspects.
Do you have a specific structure for warm-up and practice sessions?​
Generally speaking, I start with long tones, move on to scales, or jumps, or arpeggios and then devote part of the time to articulation. Right after this I get to the repertoire.
Any distinctive characteristics of baroque flute daily practice vs. modern flute or other instruments?​
Basically, I believe there are no major differences in the way we practice the different instruments. I have studied and deepened the study of the modern flute, for this reason it always remains for me the basis from which I start. In fact, the various aspects that I look for with modern remain unchanged with historical flutes: sound quality, intonation, articulation and good execution.
What are the key elements and unmissable points of daily practice?
Good breathing, sound quality and playing with elegance.
How long and distributed should warm-up and practice be?
This varies greatly, depending on the specific moment, deadlines and time available. The whole session can take about three hours of study, two hours or even just one hour, proportionally dividing the various phases.
Any  specific tip to address difficult technical passages during daily practice, and how?
The study of difficult passages personally does not happen in a single day. On the first day I face the piece trying to get to the end of it immediately, without dwelling too much. This allows me not to get stuck on the various tricky passages and have an idea of the whole piece right away.
In the following days I divide a part of the time in which I dwell only on the most difficult passages and a part in which I play again the whole piece. What helps me a lot is to study the passages very slowly, I would say, extremely slow! It helps me a lot with the precision of the fingers and the control of the emission/intonation. Rhythmic variants and the division of the passage into several parts also come in handy: so as to think of the entire passage as a sequence of smaller (and easier!) parts
Are there any tools that are particularly useful for practicing?
Tuner with historical temperaments, metronome, mirror, recorder (in order of importance) are my favourite.
I use the tuner either in standard mode, that is, I visually check the intonation accuracy of the sound I am producing, or I study a passage with the tuner that produces the drone sound I am interested in at that moment. This second mode requires careful listening to one's own sound in relation to that produced by the tuner. Recording both in the practice sessions and during concerts, allows me to pay attention to some problems that I would not be able to notice while playing.
Any other general advice, suggestion, tip?
Study very slowly, take great care of intonation and make sure you follow a great teacher.
How do you advise your students as far as structuring their daily practice?
First of all, let it be daily! It seems obvious, but it is not at all. It is a very long path, which is built day after day. Generally, apart from the warm-up/technical/repertoire structure, each student has elements that need to be reinforced, so I propose targeted and useful exercises for each individual student. 
Do you suggest or teach a warm-up routine?
I believe that each student must find the most useful, effective routine that he can address with as much enthusiasm as possible.
Are there any specific pieces particularly beneficial to be played regularly in daily practice?
Pieces with wide jumps, virtuosic passages, for example Quantz's Caprices, which I use a lot for fingers and articulation speed. I consider them as "virtuosity studies".
Digitally complex pieces, such as the Duets of Wilhelm Friedemann Bach, as they have a late writing style, in keys not very common for the traverso (F major, Eb major, F minor). I consider them very beautiful and interesting from a musical point of view and really complex from a technical point of view. The study of these duets allows you to make the traverso sound good even in these keys.