Historical Harpist Hannah Lane performs on the Baroque triple and the Classical and Romantic era single-action harps. ‘A true master of this instrument’ (Australian Stage, 2022), ‘playing three rows of strings not merely with precision but also expressive beauty’ (Limelight, 2023), her performances have been praised for their emotional depth, subtlety and sparkling virtuosity.

Hannah studied modern harp with Alice Giles and historically informed performance practice with Dr Geoffrey Lancaster graduating with high distinction. She completed her specialist studies in historical harp in Milan, Italy with the world-renowned performer/teacher Mara Galassi. While studying in Italy, Hannah was a member of the Orchestra Nazionale Barocca dei Conservatori Italiani, an ensemble comprised of the best young Italian historical instrumentalists. She is the recipient of various grants and awards in recognition of her outstanding dedication to the practice of historical harp from funding bodies such as the Australia Council for the Arts, the Ian Potter Cultural Trust and Creative Victoria.

In demand as a soloist and continuo player, Hannah performs with leading ensembles throughout Australia and Europe. Based in Naarm/Melbourne, she is the principal harpist for Pinchgut Opera/Orchestra of the Antipodes and the Australian Brandenburg Orchestra, amongst others, and has performed throughout Europe with ensembles such as Concerto Romano (IT), {oh!} Orkiestra historyczna (PL), and Lux Musicae London (UK). Hannah has appeared in concert at many international festivals including the Innsbruck Festival of Early Music, Spoleto Festival dei Due Mondi, Urbino Musica Antica and Adelaide Festival, the latter in which she performed a critically-acclaimed feature recital in 2022 and was the Baroque harp soloist in Handel's Saul with the Adelaide Symphony Orchestra in the international production directed by Barrie Kosky in 2017.

Hannah is an active researcher—viewing this as an integral part of historically informed performance practice—and has presented her work at international conferences and published on historical harp performance practice in leading academic journals including Early Music and Eighteenth-Century Music. She is a passionate music educator and a regular guest lecturer in historical harp and historically informed performance practice at the Melbourne Conservatorium of Music. 

Nicholas Pollock is an Australian multi-instrumentalist specialising in early plucked strings. Starting out on electric guitar, he then progressed to the renaissance lute, theorbo, baroque guitar, baroque lute, archlute, cittern and most recently the gallichon. Nicholas commenced his early instrument studies with Andrew Byrne (Sydney) and has performed in masterclasses with leading international plucked-string specialists such as Hopkinson Smith, Nigel North, Eduardo Egüez and Xavier Diaz-Lattore. A dynamic and versatile performer, Nicholas is equally at home playing guitar in a punk band as performing the intimate lute works of John Dowland on the concert stage. He has a particular interest in the lute and theorbo music of seventeenth-century France. 

Nicholas maintains a busy freelance career as a continuo player and regularly performs in Australia and abroad with leading Australian ensembles including the Australian Brandenburg Orchestra, Australian Haydn Ensemble, Orchestra of the Antipodes, Tasmanian Symphony Orchestra, Melbourne Symphony Orchestra, and the Australian Chamber Orchestra. He is a recording artist for Decca Classics and ABC Classics.