With thanks to:
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Sandra Parr — Artistic Planning Director
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Hilary Browning — Cellist
Women Shaping the Liverpool Philharmonic
Just thirty years ago, it was uncommon to see women at the forefront of arts management. Today, that picture is changing. Speaking with Sandra and Hilary — two women leading the Liverpool Philharmonic with remarkable energy — made that progress feel both real and inspiring.
Sandra Parr began at the Liverpool Phil as an Assistant Librarian in the early 1980s, a time when few women held positions in orchestral management. She had always wanted to work behind the scenes in classical music, so she embraced the role wholeheartedly. In fact, by 1982 she had founded the now-iconic Friends of the Phil scheme. Her love for the venue and her commitment to artists have shaped every step of her career.
Now Artistic Planning Director (Orchestra & Ensembles), Sandra continues to lead with the same drive. She began by working far above her pay grade, and her courageous approach to challenges helped her reach a role that reflects her skill and leadership.
Hilary Browning is equally impressive. A trail-blazing cellist, she has played with the Royal Liverpool Philharmonic Orchestra for 31 years — though she says it doesn’t feel that long. In 2018, she founded Equilibrium, an all-women string quartet performing music composed by women. The ensemble is powerful, necessary, and clearly fuelled by Hilary’s enthusiasm and intellect.
The Spark Behind Equilibrium
Equilibrium began with a conversation Hilary had with a male colleague. When she explained her idea, he asked:
“Why would you go to a concert where all musicians were women and the music was composed by women only?”
Her response:
“Why do you go to concerts where only men perform and only men compose?”
It was a perfect, pointed answer. Although the industry is moving in the right direction, true balance requires deliberate action. As Hilary highlighted, levelling up takes time.
An Ensemble in Every Sense
Sandra sees the organisation as a full ensemble — a group of individuals working as one. She manages around 160 visiting artists, and that sense of unity influences every part of her work. The same synergy appears in her relationship with Hilary. When Hilary hears a new piece by a female composer on the radio, she often calls Sandra — and more often than not, Sandra has already programmed it. Clearly, everyone shares the same vision.
Even with this strong culture, challenges persist. Women in music still face barriers that men rarely encounter. For example, women were not allowed to perform publicly in many European countries until the early 20th century, giving men centuries of advantage. Some attitudes also linger. Hilary still hears claims that people have “never seen a good female conductor,” even though she knows their experience is simply limited. Conducting requires confidence, visibility, and opportunities — all things women have historically been denied.
Practical Barriers and Real Solutions
Childcare remains a significant challenge for many women pursuing artistic careers. Fortunately, the Liverpool Phil created a childcare work-swap scheme that allows musicians to switch roles with colleagues across UK orchestras. This flexibility lets mothers continue performing while staying close to their families.
Hilary benefitted from this system. She swapped with a cellist from Manchester who took her place on a tour to Japan while she stayed in the UK. As a result, she neither lost work nor lost time with her child.
Leading by Example
The Liverpool Phil has become a leader in driving positive change. Their commitment includes:
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Equilibrium and its championing of female composers
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A childcare work-swap scheme
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Consistent blind auditions
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A professional orchestra that is 40% women
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A strong and diverse youth orchestra and choir
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A funded partnership with Barrow-in-Furness to increase orchestral presence in the region
It is an impressive list, and Sandra’s leadership will ensure the momentum continues.
Life Inside the Phil
I asked both women about a typical workday, although “typical” barely applies in the arts. Both work up to seven days a week, and Hilary spends every spare moment practising. They are, in every sense, immersed.
Sandra’s favourite moment each week comes when she sits in her auditorium seat at 7:30pm on a Thursday night. In that moment, she feels what the audience feels — the buzz, the anticipation, the shared experience. Evidently, that energy fuels her programming choices. Hilary agrees: the atmosphere at the Liverpool Phil is unmatched.
Resilience in Uncertainty
Uncertainty is part of working in the arts, especially now. Costs continue to rise, and funding can be scarce. Hilary noted the ongoing anxiety around resourcing. For Sandra, COVID-19 was a defining challenge. Concerts were postponed, the hall closed, and musicians felt they were practising without purpose.
She shared one story that struck me deeply. Following theatre tradition, a single lightbulb was left glowing on the stage when the venue shut down during lockdown. It symbolised the creativity still burning beneath the silence — a promise that nothing would stop the Liverpool Phil from making music.
What I Took Away
Speaking with Sandra and Hilary left me energised and inspired. They have influenced the sector with their determination and skill, and they continue to show how hard work across previous decades has opened doors for women in leadership today. More importantly, their success gives hope that future progress may not be as hard-won.
They love their work, and they excel at it. The Liverpool Phil is fortunate to have them. Because of their artistic planning, talent, and fearless approach, the organisation continues to lead the UK’s classical music landscape.
From all of us at Artifax — and from everyone their work touches — thank you, Sandra and thank you, Hilary.
— Grace Sansom, Marketing Assistant