Musical journey
Born in 2000 to a French father and Ukrainian mother, Adrian Herpe embodies a dual culture that deeply nourishes his musical language. He began playing the piano at the Uzhgorod School of Arts in western Ukraine, then continued his training at a specialized institution, where he developed his passion for music until the age of 19.
After receiving several awards in Ukraine and Eastern Europe, he moved to Belgium to study at the Royal Conservatory of Brussels, where he obtained his Bachelor's and Master's degrees with the highest distinction. There he worked with Johan Schmidt and Yoko Kikuchi.
His career was enriched by masterclasses with such great names as Michel Béroff, Denis Pascal, Robert Levin, Dmitry Alexeev, and Elisabeth Leonskaya. He also learned to play period instruments with fortepiano player Claire Chevallier.
He is currently continuing his studies at the University of Music and Performing Arts in Vienna in Anna Malikova's piano class and Avedis Kouyoumdjian's chamber music class. At the same time he pursues an Artist Diploma Program at the Paris Conservatory. In 2024, he was awarded prizes by the Yamaha and Safran foundations and won third prize in the Bösendorfer competition, held at the Musikverein in Vienna.
Adrian Herpe recently became a laureate of the Gautier Capuçon Foundation and joined the Young Talent program at the Philippe Jaroussky Academy. He also distinguished himself at the Les Étoiles du Piano competition in Roubaix, where he was a laureate and won four special prizes. These distinctions mark a new stage in the development of his artistic career.
His personal commitment to Ukraine is reflected in a series of concerts given in France, the proceeds of which are donated to humanitarian aid organizations.
Passionate about the great works of the Romantic and post-Romantic repertoire, Adrian Herpe is particularly fond of the world of Brahms, Rachmaninov, and Prokofiev, but is also committed to exploring contemporary music. He is also passionate about performing on historical instruments, which he approaches as a means of renewing his listening and questioning tradition.
