Leading from the Auckland Philharmonia trenches

The new head of the Auckland Philharmonia is pragmatic about her role, writes TARA WERNER.

Anne Rodda sounds a little shell-shocked. Next month she moves into the biggest job of her life, taking over as general manager of the region's major orchestra, the Auckland Philharmonia.

She apologises profusely for the hasty time slot - she is playing the cello for the orchestra's concert in a day's time and has a hectic round of meetings in the next 24 hours.

But it would seem Rodda knows what she wants, and is not afraid to say so.

The Arizona-born musician, aged 35, is used to working under pressure.

Before immigrating to New Zealand four years ago with her husband Gordon Hill (principal double bass with the Auckland Philharmonia), Rodda was the artistic manager of the Breckenridge Music Festival in Colorado and a member of several orchestras in Boston.

"I'd say that was my first baptism of fire, being involved with the festival. There were concerts every day, seven days a week, and it meant doing all the scheduling, personnel and production. I even drove the truck at one stage. But that's where I cut my teeth and learned to say no," she says.

Her career with the Auckland Philharmonia can only be called meteoric. She started in 1997 as assistant music librarian and part-time cellist. In 1998 she became artist coordinator, and became part of the management team in 1999.

Such upward mobility is not surprising, given her background and experience. She has worked as an arts administrator for 16 years, having first pursued a Fine Arts/Arts Administration Bachelors Degree and then completing a Masters Degree in Cello Performance at the Cleveland Institute of Music.

She is probably best known to Auckland concertgoers for her strong presence on stage as director of the Michael Hill World Violin Competition, where her poise announcing the judges, finalist and placegetters was obvious. The competition's success highlighted her organisational abilities, and her musical colleagues were impressed. Enough to appoint her to the new role. She sees her management style as being highly collaborative, and is looking forward to continuing her close working relationship with music director Miguel Harth-Bedoya.

And with the musicians themselves. Wherever possible she intends to play in the orchestra, as a rank-and-file cellist. "I'd like to do so, as long as they'll have me. I think it will be valuable for both sides - it's like having the GM in the trenches. They know that I will understand where they are coming from, and establish good communication," she says.

"It is also crucial to remain fully connected to the product I will be representing."

But what of the financial pressures of running an orchestra? They were enough to cause predecessor Lloyd Williams to step down, weary of having to constantly find the money for the musicians to continue on a professional basis.

Rodda says that a period of personal adjustment will be necessary but she is pragmatic about this fraught aspect.

"Yes, the pressure is going to be hard to bear at times. And making reductions and sacrifices isn't easy. This orchestra could do incredible things with more funding. I'm not looking forward to waking up at 4 am with anxiety attacks. But you have to be accountable for all your decisions, and at times you have to say no."

Resuming a more positive spin about the future of the orchestra, she adds: "It's the energy, passion and potential of the Auckland Philharmonia that has inspired me in my time working here. It's a dynamic company, fuelled by the spirit and dedication of a multitude of talented people. It will be an honour to represent them."