A My parents grew up during the Cultural Revolution, when all things Western were banned - though, behind closed doors, my father listened to cassettes of classical and country music. He managed to teach himself the guitar, and would play for the family at dinnertimes. Later, when my parents were both semi-retired, they worked at an instrument shop in Shanghai; my mother was manager and my father tuned pianos. A few years after the door opened, my father decided I should start learning cello, aged six, to fulfil his uncompleted dream. He struggled to pay for my tuition but it helped that my first cello was a gift, handcrafted by my first private tutor, the father of renowned cellist Jian Wang. Being an obedient child, I have followed the career path my parents paved for me. Even if I had the chance to choose again, I'd still go for the same instrument, the same career.

I attended music school from the age of nine and was trained to become one of the next generation's top professionals. The competition among my classmates was fierce. Every student had to be disciplined. I spent six hours (a day) practising cello at school plus two hours at home. I tried to skip practice once by moving the clock one hour ahead but I was caught. Playing the cello has always been very academic for me; I hardly ever play for my own enjoyment. It was only when I started performing in concerts and becoming recognised by audiences that I felt a sense of satisfaction, which encouraged me to keep going. I think the sacrifice was worthwhile because the time I invested helped establish my solid musical foundation. But I will be a more liberal parent to my three-year-old daughter, letting her enjoy her childhood to its fullest and not giving her excessive pressure.

At the Shanghai Conservatory of Music, which I graduated from in 1997, I was always in a queue, waiting for my turn to perform because there were too many students. I received a full scholarship to the University of Auckland, in New Zealand, in 1998, and my professor there opened doors for me and I received fabulous on-stage experience, which is important for a soloist. I became principal cellist of the Auckland Chamber Orchestra and played regularly with the Auckland Philharmonia Orchestra and the New Zealand Symphony Orchestra. In China, Russian composers like Tchaikovsky and Rachmaninoff featured heavily in classes, which explains my respect for my cello hero Mstislav Rostropovich and my love for Dmitri Dmitriyevich Shostakovich's emotional and dramatic music. In New Zealand, I was exposed to a wider repertoire. I learnt to appreciate its native composer Gareth Farr and English composer Edward Elgar.

My husband, Julian Lloyd Webber (younger brother of composer Andrew), and I met in 2000, when he was on a concert tour of New Zealand. We kept in touch and reunited during his tours in 2004 and 2006. Then he asked if I would consider investigating whether a relationship between us would work, prompting me to travel back and forth between London and Auckland. Eventually, I gave up my career in New Zealand to follow my heart and we married in 2009. The 23-year age gap does not faze me because Julian is young at heart. Nor was I bothered by his three previous marriages. They had fallen apart because his ex-wives couldn't understand his commitment to music, which means he is often on tour and requires time alone to practise. He steered clear of dating musicians when he was younger because music is too all-consuming. But I know what marrying a cellist entails, because I am one.