Bassam Bishara was born in the village of Rama in Upper Galilee, Israel in 1954. He started his music education at the Robin conservatory in Haifa, and graduated from the music department of the Hebrew University. Bassam, taught Middle Eastern music at the Music Academy in Jerusalem, and has performed internationally as a soloist, blending tradition and innovation, and forging important musical links between the Middle East and the West, from Traditional Arab compositions and arrangements to jazz, documentary films, and orchestral scores. Bassam has received several awards: the “Award of Honour” for his achievements in linking traditional Arabic music and the music of the West; the “Jerusalem Encouragement Award” for his contribution to the revival of cultural heritage; the “Israeli Radio Broadcast Award”; and the “Arab Women Association Award” (London, England) for his role in reconstructing classical and traditional Arabic repertoires. He has performed in England, Germany, Sweden, and at several universities in the United States. Bassam moved to Canada in 2001. He teaches Middle Eastern music at York University, and is Music director and composer for the Arabesque Dance and Music Academy:


Wen Zhao is an internationally acclaimed pipa virtuoso, a sensitive and lyrical performer. Born in Beijing, she began to study the pipa at the age of seven, eventually winning the first prize at Beijing Youth National Instrument Competition in 1985. After completing her university study with the renowned pipa master Wang Fan Di, Wen continued her musical career in England, performing and teaching Chinese music throughout the U.K. Wen lives in Toronto since 1997, and teaches pipa at both the Royal Conservatory of Music and York University. Zhao has appeared at major ethnic music festivals worldwide, including those in Asia, Europe, Canada, and the U.S. These appearances deeply impressed the audience and were highly acclaimed by the media: BBC TV, CBC TV, CBC radio and OMNI TV have all broadcasted her solo performances. The Toronto Star and several Chinese media groups have interviewed her to showcase her instrument and artistry. Beyond her work as a soloist, Zhao has collaborated with some world’s top Western ensembles, including Tafelmusik Baroque Orchestra, Toronto Symphony, the Toronto Consort, London Grand Union Orchestra, and the Accordes String Quartet. She is especially honoured to be one of the featured musicians for the CBC award-winning documentary film The Four Seasons Mosaic. The Toronto Star described her as “a virtuoso player who displayed her dexterity and percussive skills on the Pipa.” Please visit Wen’s website at


Lucas Harris studied the lute and basso continuo in Italy at the Civica scuola di musica di Milano (as a Marco Fodella Foundation scholar) and then in Germany at the Hochschule für Künste Bremen. Based in Toronto since 2004, Lucas enjoys a very busy freelance career, adding plucked continuo to dozens of ensembles across Canada and the USA in addition to being the regular lutenist with Tafelmusik Baroque Orchestra. He also makes time for special projects such as the solo recording Baroque Lute Recital ( Lucas is on faculty at the Tafelmusik Baroque Summer Institute as well as Oberlin Conservatory’s Baroque Performance Institute. He is founder and director of the Toronto Continuo Collective ( and also co-directs the community chamber music series Beaches Baroque ( with violinist Geneviève Gilardeau, with whom he has recently released the CD The Bach/Weiss Sonata ( He also plays with the new Vesuvius Ensemble, dedicated to folk music of Southern Italy ( He has been a guest music director for projects with the Ohio State University Opera program and the Pacific Baroque Orchestra, and is currently a pursuing a Masters’ degree in choral conducting at the University of Toronto. Lucas was praised for his work with Les voix humaines in Montréal: “The revelation of the concert was the Torontonian lutenist Lucas Harris, who weaved a poetic thread through his infinitely subtle interventions. The sweetness and patience of his playing . . . was astonishing.” (Le Devoir)