The final week of the Queen Elisabeth Competition for piano is behind us, and once again this prestigious Belgian competition proved why it ranks among the absolute top worldwide. Not only through the exceptional level of the participants, but also through the intense experience this annual competition brings to the cultural heart of Europe. In this edition, one institution stood out head and shoulders above the rest: the Muziekkapel Koningin Elisabeth, which achieved an unprecedented victory with four finalists and three podium places.
The competition was founded in 1937 by Queen Elisabeth of Belgium. It was first called the Eugène Ysaÿe Competition, as a tribute to the Belgian violinist and composer Eugène Ysaÿe, who died in 1931. In 1951, the competition took the name of its founder: Queen Elisabeth (1876–1965). Since then, the Queen Elisabeth Competition has grown into one of the most respected competitions for young classical musicians in the world. Many great names in classical music began their international careers here. The competition is organized every year with a rotation system of four disciplines: piano, violin, singing and cello. In 2025 it was piano's turn again – traditionally one of the most intensely followed editions.
The strict selection, consisting of a pre-selection based on video footage, followed by multiple live rounds at Flagey and a final week at Bozar, ensures that only the most exceptional young talents get the chance to showcase themselves to an international jury and a broad audience.
A final week to never forget
The final week at Bozar, Brussels, evolved into an impressive celebration of virtuosity, emotion and dedication. Twelve finalists performed a mandatory work together with a self-chosen piano concerto, a combination that tested their technical skill and musical resilience. This edition featured two new mandatory works: Two Studies for Piano by Ana Sokolović for the semi-final and Music for the Heart by Kris Defoort for the final. With only a week to study the final work, the piece served as a true challenge – a test of musicality, adaptability and artistic courage.
The standouts: Muziekkapel Koningin Elisabeth
What really stood out this year was the dominant presence of the Muziekkapel Koningin Elisabeth from Waterloo. Four of the twelve finalists were artists in residence at this Belgian top institution, which guides young musicians through a unique learning trajectory where pedagogy, stage experience and personal development go hand in hand.
The results speak for themselves:
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Nikola Meeuwsen (°2002, Netherlands): 1st prize, also Queen Mathilde Prize. With this, Meeuwsen confirms his status as a rising world-class talent.
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Valère Burnon (°1999, Belgium): 3rd prize, Count de Launoit Prize, and audience prizes from RTBF and VRT. A pianist who convinced both the jury and listeners with his passion and flair.
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Arthur Hinnewinkel (°2000, France): 4th prize, with the Prize of the Community Governments of Belgium, offered by the Flemish Government. His refined interpretations testify to a deep musical insight.
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Mirabelle Kajenjeri (°2000, Burundi/France): laureate, with support from the National Lottery. Her interpretations stood out for their warmth and narrative sensitivity.
It is exceptional for one institution to win half the prizes in a competition of this level. The Muziekkapel owes this success to its residential model, in which young musicians are intensively guided over several years by international top mentors, including for piano the renowned Frank Braley and Avedis Kouyoumdjian.
The complete final results:
- Nikola Meeuwsen (Netherlands)
- Wataru Hisasue (Japan)
- Valère Burnon (Belgium)
- Arthur Hinnewinkel (France)
- Masaya Kamei (Japan)
- Sergei Tanin (Russia)
The power of live experience
What makes the Queen Elisabeth Competition particularly special is the degree of public involvement. The competitions are broadcast live on radio (Klara and Musiq3), television (Canvas, La Trois) and online via streaming platforms. Furthermore, the audience prizes give listeners a direct voice, adding extra tension and depth to the competition.
Valère Burnon is living proof of this: his energetic playing and natural stage presence made him a audience favorite. In the end, he also won the audience prize.
Belgium as a cultural beacon
The Queen Elisabeth Competition not only showcases the wealth of young musical talent, but also underscores Belgium's role as a beacon of cultural excellence. At a time when classical music is under pressure, it is impressive that a relatively small country organizes a competition of this scale and level, year after year, with worldwide impact.
The collaboration between public broadcasters, institutions such as Bozar and Flagey, and private partners makes this event a living example of what cultural cooperation can mean.
Conclusion
The 2025 edition of the Queen Elisabeth Competition for piano will go down in the history books as a particularly strong year. Not only because of the high level of the candidates, but also because of the remarkable success of the Muziekkapel Koningin Elisabeth – a Belgian institution that excels on the international stage in artistic education.
The competition may be over, but the music continues to resonate. In the careers that are now shifting into a higher gear, in the hearts of the audience that were moved, and in the future of classical music, which thanks to this young generation seems assured of a promising future.