Alice Giles is the extraordinary local Artistic Director of the 12th World Harp Congress. Here are her ‘vital statistics’: First Prize winner of the 8th Israel International Harp Contest; international recital soloist including London’s Wigmore Hall, New York’s 92nd Street 'Y', Merkin Hall; gives masterclasses word-wide; foremost interpreter of Berio Sequenza II; Director of the Kioloa Summer Course and the Seven Harp Ensemble. www.alicegiles.com

Genevieve has always found herself in the right place at the right time. Formative years were spent in playing youth orchestras, sailing tall ships, and writing letters. These days she runs an opera company, plays the harp, and looks for every opportunity to share the joy of music making with audiences and performers alike. Come July, she’ll be bouncing a one-month old on her hip as she plays her part in the World Harp Congress.

After learning her basics, Mary branched into jazz, improvisation and general artistic mayhem. She is now a cross-arts practitioner known as a composer, jazz harpist and singer, and is earning a reputation as a creator of innovative works that encompass music, text and visuals, some of which have been acquired the Australian National Gallery, Canberra. Mary loves to inspire others to transcend self-imposed boundaries, whether in art practice or appreciation

Chiefly a music enthusiast, Joanne works as Administrator for New Zealand Kindergartens, and secretary of the Hutt City Brass Band. Proud mum of two musicians (one of whom is, naturally, a harpist) Joanne has bravely taken up the saxophone in later life. More bravely still, it’s her other daughter who’d teaching her! Joanne loves gardening, crafts and… music!

Carolyn settled a long way from home in 1989 as the New Zealand Symphony Orchestra’s principal harpist. Given the proximity to Antarctica, she thought a performance there was in order, and subsequently performed on six more continents. A champion of new works for harp, published author and passionate teacher, Carolyn loves living by the sea and experiencing NZ’s outdoor joys.

Natalie has multiple mild superpowers. Along with the harp, she also plays piano, flute, violin, and has also tried clarinet, soprano sax and Guzheng. She loves learning new things, as well as composing for harp and small ensembles. Currently freelancing with orchestras and teaching, Natalie also gets blessedly excited about administrative tasks and making spreadsheets!

By day, Maryanne is an enthusiastic Human Resources professional at the beginning of her career. By night, her native habitat is a concert audience, behind her harp at home or with friends. Indecisive but ambitious, she did three degrees at Sydney Uni simultaneously: one in harp, one in German, and one in Psychology. Highlights of her early years included playing with AYO in the Opera House and travelling to Germany to study language. On weekends, she can be found at home, trying to sing Mozart and bake choux pastry.

Gypsy, social entrepreneur with a commerce degree, and harpist, Liena is co-founder of Harp Centre Australia, and currently General Manager and Festival Producer of the Four Winds Festival on the south coast of New South Wales, Australia. A graduate of the Melbourne Conservatorium and ANU School of Music, these days she dabbles in 17th century harp, loves crocheting and, having spent time in Italy, good gelati.

Frances started with a childhood obsession for three ‘H’s – harp, horses, and history. She’s realised all three of these, with a PhD in 16th century English prophecy, magic and divination; a teaching degree allowing her to teach classroom music and harp; and has recently returned to riding horses after several years of child-wrangling.

Kristina has an extreme harp addiction, with a particular liking for French and Baroque works for harp. During the daytime she works as a 3D animator and visualisation artist. At nighttime she can sometimes be found in the orchestra pit as principal harpist for Melbourne Opera, or street skating if the weather is fine.

Gillian has been making harps for 17 years in all shapes and sizes from 19 to 40 strings, working mostly in Australian timbers. She is mostly self-taught but a 2002 Churchill Fellowship enabled her to spend several months visiting and/or working with harp makers in Europe, and North America – a life changing experience!