Babette Craens (°1998) is a Belgian classical pianist whose work focuses on French Impressionism, Belgian repertoire, and contemporary music. She creates concept-driven concert programs that bring together music from different periods through sound, colour, and imagination.
Alongside her concert activity, she develops long-term artistic projects that combine performance with historical research. She regularly collaborates with museums and living composers, exploring historical keyboard instruments and bringing overlooked repertoire to contemporary audiences.
Recent projects include the recording of works by Paul Gilson on the historic Benoit–Pleyel in collaboration with Museum Vleeshuis, as well as the start of a long-term artistic partnership with the museum centered on concerts, research, and historical keyboard instruments.
Craens performs on both modern and historical pianos, exploring how each instrument shapes the character of the music and the listening experience.
Critics have praised her poetic imagination, refined touch, astonishing jeu perlé, and exceptional sensitivity to colour and nuance.
Recognized early as one of Belgium’s promising young pianists, Babette is a laureate of multiple national competitions including the Steinway Competition where she received second place. She is a sought-after addition to prestigious festivals including Arte Amanti Festival and PianoFest, and was selected for numerous exclusive masterclasses throughout the years. Babette has performed regularly at venues including deSingel, Flagey, De Bijloke, AMUZ and Miry Concertzaal.
Growing up with her father, composer Alain Craens, Babette was immersed in contemporary music from an early age. Combined with her own fascination for Impressionist art and music, these early influences gradually evolved into the artistic language that defines her work today.
Having learned to play on an 1868 Grotrian Steinweg, Babette developed an early fascination with the distinct personalities of historical keyboard instruments. That curiosity continues to inform her work today, leading her to explore historical pianos alongside modern concert grands in search of the colours, touch and listening experiences unique to each instrument.
Raised in a musical family, Babette began her piano studies at a young age with Heidi Hendrickx and Levente Kende, laying the foundations of her technical and musical development.
At the age of seventeen, she was admitted to the Royal Conservatoire of Antwerp, where she studied with Sergei Edelman and Eliane Rodrigues under the guidance of Jozef De Beenhouwer. Their emphasis on colour, touch and the development of musical ideas continues to shape her artistic voice to this day.
While solo recital forms the heart of her artistic practice, Babette's collaborations stem from an openness to artistic dialogue and a genuine curiosity for new perspectives.
Whether in chambermusic, Lied, opera, orchestras or interdisciplinary projects, these encounters continue to enrich and deepen her artistic voice.
Therefore she is a sought-after collaborator for Muziektheater Transparant, Zonzo Compagnie, Vrienden van het Lied , diverse chambermusic groups among others.
“I have always admired Babette as someone who approaches music with exceptional intelligence and integrity, which has always resulted in interesting, deeply felt performances. Her piano playing is technically refined and always grounded in a deep stylistic awareness.”
“It is an interplay underpinned by Craens’ subtle sense of rubato and flexibility.
She breathes and phrases in perfect harmony with the vocal line, constantly anticipating the breathing, timing and enunciation of the text.”
The Liedgenre plays a central role in Babette's artistic work. She has been praised by leading pianists in this field including Malcolm Martineau, Roger Vignoles, Hans Eijsackers, Susan Manoff and Aäron Wajnberg. She is a sought-after Liedpianist and works with various singers for their Lied projects.
Since 2018, she has formed a duo with mezzo-soprano Herlinde Van de Straete, with whom she gave a debut recital in 2025 at Miry Concert Hall with the program Dream Images.
At the Royal Conservatoire Antwerp where they followed lessons with Aäron Wajnberg, Lucienne Van Deyck and Jozef De Beenhouwer, they graduated with the highest grade given ever in the history of Liedclass. For the 2024-2025 season Babette and Herlinde were selected for the Udo Reinemann Masterclasses and were invited back for the next season.
Primarily, they focus on contemporary and late 20th-century repertoire, where they search for ways to implement different interactions between them and the audience.
Since 2022, she has also collaborated closely with soprano Fleur Strijbos.
Their duo has been selected for several international competitions, is featured in the Vrienden van het Lied artist database, and has performed at venues including Lied Festival Zeist as well as recording for Klara radio - highlighting the duo's growing international recognition.
In 2026 they released their internationally acknowledged debut-album Lacunes, which has received numerous positive reviews and selections for national radio.
This duo is known for their dynamic interpretations, refined musicianship, and undeniable chemistry on stage. With music and poetry as their allies, they breathe new life into the classical Lied repertoire in a captivating way.