"A lot of people, including teachers, helped me along the way. But New York, where I spent a total of 14 years, was hard. I had to rely on myself most of the time. It was competitive behind the facade of a smooth ride," Ni recalls.

Her seven years with the New York Philharmonic gave her an opportunity to "learn so much great music". Previously as a student, Ni played mostly chamber music and solo pieces. But working in a big and eminent orchestra enabled her to play large-scale works such as symphonies.

"I'm a quick learner," she explains. "We would play four concerts a week. Every Tuesday we would learn new pieces, which we would perform that Thursday, with only two days for rehearsal."

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Ni says she is naturally drawn to the classical and romantic repertory. But she is not afraid of playing unfamiliar music.

"A musician is like an actor. You have to understand the role, the psychology of the character. You have to be that person, and bring it outside yourself."

To prepare new pieces, she would read up on the literature and other art forms of the country and era that gave rise to the musical composition.

Ni enjoys making live music. "Every time you find something different. Every show can be a challenge. It's up to me to make it worthwhile," she says.

Having been working at the respected Philadelphia Orchestra since 2006, Ni takes the current tour of the Asia-Pacific United Orchestra both seriously and lightheartedly.

She is the principal cellist for the tour. When asked whether so many musicians - all principals in their own orchestras - would have a clash of personalities, she laughs: "This is a 12-day tour. There's no time for that."