Australian harpist Hannah Lane has been acclaimed as, ‘a true master of this instrument’ (Australian Stage, 2022). A leading specialist in historical harp performance practice, Hannah performs on harps from the Renaissance to Romantic eras. ‘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 AM and historically informed performance practice with Geoffrey Lancaster AO, graduating with high distinction. She completed her specialisation in historical harp in Milan, Italy, with Chiara Granata and Mara Galassi. As a chamber artist and soloist, Hannah performs with leading ensembles throughout Australia and Europe. She is Principal Harpist for Pinchgut Opera and the Australian Brandenburg Orchestra, and regularly appears with ensembles such as the Australian Haydn Ensemble, Genesis Baroque, Van Diemen’s Band, Latitude 37, and Adelaide Baroque. Hannah is a recording artist for ABC Classics, Obsidian Records and Brilliant Classics, and has performed at international festivals such as Innsbrucker Festwochen der Alten Musik, Spoleto Festival dei Due Mondi, Urbino Musica Antica, Adelaide Festival, and the Canberra International Music Festival.

Based in Naarm/Melbourne, Hannah is the artistic director of the critically acclaimed Ensemble 642, which is dedicated to the art of basso continuo and music for early plucked strings. In 2024, the ensemble toured France and Italy, including a performance at the renowned Urbino Musica Antica Festival. They are the first Australian ensemble to be invited to perform at this festival since its inception, 56 years ago. Hannah is a dedicated and inspiring music educator, who is passionate about nurturing the talents of future generations of musicians. She has acted as a mentor for the Helpmann Academy Elevate Mentorship Program, and is regularly invited to present masterclasses at the Music Conservatoriums of Melbourne and Sydney. Hannah’s research has been published in leading musicological journals such as Early Music and Eighteenth-Century Music.

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