BY STEPHANIE ESLAKE
Hannah Verkerk’s arts career shows us how rapidly goals can be achieved.
Since her 2015 role as operations and music coordinator with the Australian Youth Orchestra, which spanned close to three years, Hannah has moved across the continents and now works full time as orchestra and auditions manager with the London Philharmonic Orchestra.
It all started when she signed herself up for the Australian Youth Orchestra‘s Arts Administration course, on the suggestion of a friend. Here’s how it worked out for her, and how the industry skills she obtained have served her career.
Hannah, tell us why you wanted to take part in the Arts Administration course, back in 2015.
When I finished my university degree, I decided that I no longer wanted to perform on stage. However, I definitely didn’t want to leave the music world. I had been volunteering in operations at a youth orchestra, so wanted to learn more about arts admin. A friend suggested I apply for the Arts Administration course with the AYO! Best decision I ever made.
What other educational experiences had you then had with music, and how did this AYO course differ in content and style?
I studied Classical Performance (Horn) at the Queensland Conservatorium Griffith University, but before that I was studying to be a music teacher before moving on to classical performance at WAAPA. Although I realised I didn’t want to teach, I have always really loved working with people.
The AYO course differed of course, because we were completely behind the scenes, and learnt all aspects of what it takes to organise and deliver a successful concert [and tour].
Why did you see arts administration as an important field to learn about, no matter where your career would one day take you?
I think the best thing about [arts administration and management] is that there are so many aspects to it. Personnel, production, touring, stage management, library, youth orchestras, professional orchestras, ballet, theatre – there are so many areas to learn about, and I was lucky to find a couple in there that really excited me.
So what did you get up to in the course? Take us through a day in the life.
It was a very busy two weeks but so much fun and, as cliché as it sounds, life-changing!
A normal day would be breakfast followed by setting up for the orchestral activities of the day. The musicians involved at AYO National Music Camp had two symphony orchestras, a chamber orchestra, brass ensemble, and many, many small chamber groups. Depending on what was scheduled for the day is what we would be [running].
Once the various rehearsals were up and running, we would gather for seminars with industry professionals on things like touring, production, stage management, and arts management.
What did you learn about yourself when you started to adopt leadership-style skills and duties?
I think when I started to realise I had found something I really enjoyed doing, it gave me a different kind of confidence to performing. I was much more capable of giving speeches and instructions and this was great practice for the future. I started to learn how to problem-solve and think quickly about what needed to be done to make sure things happened.
Since you completed the program, how have you applied these skills into your career?
After the course, I was lucky enough to be given an internship with the Sydney Symphony Orchestra, and after that a position at the AYO! Being a staff member on programs like National Music Camp was very different, but having had the insight at NMC as a participant, it helped me to understand and continue learning about how orchestras are run.
Once I gained more responsibility in my next role at the London Philharmonic Orchestra, the communication skills and leadership skills gained at NMC have hugely helped. Things like touring, making announcements to the orchestra, communication with conductors and soloists – it definitely helped prepare me for that.
So what do you get up to as orchestra manager of London Philharmonic Orchestra, and how is this similar or different to your duties in the AYO course?
The LPO usually rehearses and performs at two different venues in London, and we move through a lot of repertoire each week as prior to COVID-19, we would do two programs a week. I think the most important thing I do is try to ensure that everyone knows where they are meant to be for rehearsals and performances, and that they are kept up to date with rehearsal orders, call times, and any changes.
I think this is quite similar to what we did at the AYO course, as things can often change really quickly in a day and it is so important to make sure communication is running smoothly!
What can a good manager bring to an arts organisation? Why is it such a vital role in the shaping of a successful organisation?
I think that a good orchestral manager is really important because the musicians already have enough to worry about. A good orchestral manager can take the stress of the schedule, and any changes to the schedule, off the musicians so that they can focus fully on preparing and performing.
I love working with people, so I also really enjoy meeting the soloist and conductor and making sure they have everything they need.
If things go smoothly, then hopefully everyone involved is more relaxed and prepared to deliver a successful concert!
What advice would you give to those considering learning more about the field?
I would go into it with a completely open mind, trying not to focus on any particular areas, as there are so many to learn about and they all link to each other so well.
I went into the AYO course knowing I really wanted to learn about touring because I love travelling, but I found that I have a love for personnel management and also the library. And I am lucky enough to be in a job where I get to do all of it!
Learn more about the Australian Youth Orchestra’s programs on the website.
READ NEXT: Kane Moroney sheds light on his career in orchestral management.
Images supplied.
