Nadine founded the duo Cantar alla Viola together with viola da gambist Fernando Marín, dedicating the past 19 years to research, interpretation and rediscovering the musical practice of singing with a viol. Their album of Italian Renaissance music, Segreti Accenti, was nominated for the International Classical Music Awards.

She received a Bachelor’s degree in vocal performance from the University of Michigan, studying with George Shirley and obtained a second degree from the Hochschule für Musik Köln with Barbara Schlick. In 2022 and 2023 the German Music Council – Deutscher Musikrat Neustart Kultur awarded her two grants for projects on 17th Century Italian music and women composers.

In 2016, she made her debut with the Opéra de Montréal in the role of the High Priestess in Verdi’s Aida. La Presse music critic Caroline Rodgers described her voice as one of “rare beauty”. Her more recent performances (2017-2018) include Milica in Sokolovic’s Svadba with Opéra de Montréal, Micaela in Bizet’s Carmen with Opéra de Québec and concerts with conductors such as Yannick Nézet-Séguin, Kent Nagano, Matthias Maute and Jonathan Cohen. In 2018-2019, she sang a Gilda in Verdi’s Rigoletto, the soprano solos on Handel’s Messiah with Ensemble Caprice, the Mendelssohn’s Symphony No.2 “Lobgesang” with l’Orchestre Metropolitain under Yannick Nézet-Séguin’s direction. Recently, she was a soloist with Les Violons du Roy under Jonathan Cohen’s direction.

While studying music therapy at Acadia University, Ellen appeared frequently as a soloist with local ensembles including Symphony Nova Scotia, and was lead soprano of the Manning Chapel Choir from 2014-2018. In 2017, Ellen was awarded the Canadian Federation of University Women scholarship which funded their participation in Accademia Europea Dell’Opera in Lucca, Italy, where they played Oberto in Handel’s Alcina. This experience motivated Ellen to pursue a career in performance and upon graduation, Ellen moved to Montreal to study with soprano Suzie LeBlanc.

Ellen frequently returns to the Maritimes for solo recitals, collaborations, and residencies. Ellen also recently completed an artist residency at Banff Arts and Creativity Centre with Canadian tenor Kerry Bursey, as the newly formed early music/folk duo Kalliope. Ellen is currently exploring the practice of self-accompanying early music on baroque guitar. As a queer, non-binary musician, Ellen is inspired by the possibility that their queer ancestors had their own musical traditions and that through research, creative speculation, and performance, we can tell a more inclusive and rich story about music and humanity.

Atalante’s luxurious continuo ensemble of triple harp, chitarrone, keyboards, viol consort and lirone accompany a sublimely dark repertoire that has been languishing in the Vatican Library for 300 years. Atalante’s debuted in 2009, at the Southbank Centre in London, with staged performances of the laments of Artemisia, Helen of Troy, Mary Magdalene and the Blessed Virgin. The ensemble’s exploration and revival of this fascinating repertoire, including the staging and filming of it, has received continuing support from the Arts and Humanities Research Council of Great Britain. Atalante has made four recordings in their series Reliquie di Roma – music by Luigi Rossi, Marco Marazzoli, Giacomo Carissimi, Domenico Mazzocchi, Bernardo Pasquini and Alessandro Stradella – which have been released on Destino Classics (Nimbus Alliance). Members of Atalante come from the UK, Ireland, Germany, Sweden, Switzerland, Spain and the USA.

In 2011 she received a Distinguished Alumnus award from Pennsylvania State University, and in the spring of 2013, she was Musician-in-Residence at the prestigious Villa I Tatti, Harvard University’s Center for Italian Renaissance Studies in Florence. To ensure that the instrument and its Italian repertoire flourish as they did in the 17th century, Erin Headley has produced and presented staged performances, recordings, videos, masterclasses, lectures, published articles and performing editions to reach a larger audience. 

He teaches at the Tafelmusik Summer and Winter Baroque Institutes, Oberlin Conservatory’s Baroque Performance Institute, and the Canadian Renaissance Music Summer School, and is a regular guest artist with Early Music Vancouver. Lucas is also the Artistic Director of the Toronto Chamber Choir, for which he has created and conducted more than twenty themed concert programs. One of Mr. Harris’ many pandemic projects was the reconstruction of 12 solo voice motets by the Italian nun Chiara Margarita Cozzolani.