Efrén Lopez Sanz (he/him) is a specialist in the hurdy-gurdy and plucked string instruments of European medieval tradition, the Eastern Mediterranean, the Middle East, and Central Asia. For over 25 years, Efrén López (he, him, Valencia, Spain, 1972) has been involved as a composer, performer, or producer in some of the most creative Roots music projects from both ends of the Mediterranean and beyond: Trio Petrakis/López/Chemirani, L’Ham de Foc, Ross Daly & Labyrinth, Stelios Petrakis, Kelly Thoma, Derya Türkan, Dilek Türkan, Katerina Papadopoulou, etc…. as well as the Middle East and Asia (Sima Bina, Siamak Aghaei, Daud Khan Ensemble, Parvathy Baul, Ziya Tabasian, Bijan Chemirani, Keyvan Chemirani, Veka Aler, Arslan Hasreti, Pedram Khavarzamini, etc…). Furthermore, his activity in the field of early European music or music influenced by it includes projects in Spain, Germany, Austria, Greece, Denmark, and Iceland with Jordi Savall, Evo, Eloqventia, Capella de Ministrers, Arianna Savall, Oni Wytars, Paloma Gutiérrez del Arroyo, Maria Laffitte, Via Artis Konsort, Faun, Ex Silentio, Al Andalus Project, or Voces Tules. With all these groups, he has performed at some of the most prestigious festivals across Europe, North Africa, North and South America, the Middle East, China, and the Indian subcontinent, and has participated in the recording of over 90 albums.

Lamia Yared (she/her), a Lebanese singer and oud player, specializes in the repertoires of classical Arab and Ottoman music. She is actively involved in various projects aimed at preserving and promoting the musical heritage of the Eastern Mediterranean region. Collaborating with exceptional musicians, she has produced the album Chants des Trois Cours (2019), recommended by Songlines magazine, as well as the album Ottoman Splendours (2022), under the Analekta label. Alongside the ensemble Oraciones, she recently received the Opus 27 Award for the best world music concert of the year from the CQM.

Her presence has been noted at numerous festivals in Canada and internationally. As an artistic director and musician, she brings together outstanding musicians from diverse cultural backgrounds for collaborations. She has also been invited to present projects by ensembles such as Labyrinth Musical, La Cigale, Studio de Musique Ancienne de Montréal, One Ecquall Music, Oktoécho, and Ensemble Scholastica.

Versatile artist Marie-Laurence Primeau (she/ her) has an active career in early music, effortlessly switching between recorder and viola da gamba. She performs with ensembles such as Les Boréades de Montréal, Le Consort des Voix Humaines, La Cigale, Les Idées Heureuses, Les Voix Baroques, and the Toronto Masque Theatre. She has been heard at prestigious festivals in Canada, the United States, and Mexico and has participated in various recordings under the ATMA Classique label.

In addition to her concert appearances, she teaches at the Toronto Early Music Players Organization, the Montreal Recorder Society, and the CAMMAC music center, as well as annually hosting nearly thirty children in her class.

A founding member of Les Jardins Chorégraphiques, Marie-Laurence has built a solid reputation as a baroque dancer. In addition to bringing a unique dimension to her performance, dance is a wonderful symbiosis for her between her constant need to move and the music that she is passionate about.

Nizar Tabcharani (he/ him) studied music at the National Conservatory of Music in Lebanon for seven years. He earned a Bachelor’s degree in Computer Science and Kanoun Music Performance from Concordia University. Nizar has extensive experience performing on the Kanoun with numerous Arabic folk troupes, touring extensively in Lebanon and other Middle Eastern countries. He was part of the prestigious ensemble from the Conservatoire du Liban, consisting of seventy of Lebanon’s finest musicians. Nizar participated in numerous tours organized by cultural folk companies, sponsored by the Lebanese Ministry of Tourism. He has performed in several national tours, taking him to Gulf countries, as well as concert dates in Africa and the Americas. In one notable instance, at the International Exhibition of Poitiers in 1997, Mr. Tabcharani served as the interim musical director for the company throughout the tour in France. In 2001, Nizar Tabcharani participated in the 22nd edition of the popular Montreal International Jazz Festival. He was seen and heard playing his Kanoun on Télé Québec on January 23, 2001, and performed for an exhibition on the Middle East at the Musée d’Art National de Québec. The years 2002 and 2003 brought Nizar to Canadian stages: The Festival du Monde Arabe where he performed with Christine Atallah and the Bassalindos, The Lebanese Festival, Les Francofolies, Winiarziana, Montreal, and the Lebanorama Festival in Ottawa, where he is a frequent guest.

Renowned for his virtuosity and innovative approach to percussion, Ziya Tabassian (he/him), embarked on his musical odyssey at the age of ten, immersing himself in the resonant beats of the tombak, in Iran. His journey continued in Quebec, where he melded classical Western percussion with his Eastern roots, studying with Julien Grégoire between 1994 and 2001 and earning a Bachelor’s degree in interpretation from the Université de Montréal. A pivotal moment in Tabassian’s artistic evolution occurred during a transformative residency at The Banff Centre in 2003. Here, he seamlessly blended Iranian percussion with contemporary influences, a fusion that continues to define his distinctive sound.

Tabassian’s global pursuits led him to master classes with luminaries such as Bahman Rajabi, Aziz Alami, Trichy Sankaran, Mısırlı Ahmet, Shree Sundarkumar, and Yogesh Samsi. His boundless curiosity and tireless exploration have made him a prominent figure in early music (medieval, Renaissance, and Baroque), contemporary and world music.

As a percussionist, Tabassian’s versatility shines through in collaborations with diverse musical groups, including the Regard Persan trio and Ensemble Caprice. His performances have graced stages in over 40 countries, earning acclaim in prestigious festivals and concert halls.

Tabassian’s discography is marked by collaborations with the likes of the Kronos Quartet, Kayhan Kalhor, and Mercan Dede. His solo albums, including Tombak  (2007), The Circle of the Cycles (2017), and Zarb-e Osul (2020), showcase his deep exploration of Persian rhythmic cycles. Recently, Tabassian unveiled Remembrances, an album featuring his original compositions for instrumental ensembles. His compositions are characterized by a rich tapestry of sounds, seamlessly weaving together traditional and modern influences. His artistry continues to captivate audiences, offering a captivating blend of tradition and innovation.