With a career that unites technical excellence, academic research, and a striking stage presence, São Paulo–born pianist Pedro Sperandio has been establishing himself as one of the most relevant names of the new generation of Brazilian classical musicians. With performances in Brazil, Europe, and North America, he moves effortlessly between the modern piano and historical instruments, standing out for his refined and historically informed approach to musical interpretation.
Pedro performs regularly in prestigious venues such as Sala São Paulo, the Palau de la Música Catalana (Barcelona), Salle Cortot (Paris), and the WDR Funkhaus (Cologne). His repertoire ranges from classical works to contemporary and Brazilian music, with particular emphasis on his collaborations in ensembles such as the Girotti–Sperandio Duo (Lied) and the historically informed cello–fortepiano duo with French cellist Églantine Latil.
In addition to his work as a performer, Pedro maintains an active academic career: he is a doctoral candidate in Musicology at the University of São Paulo (USP) and is pursuing the Konzertexamen in Fortepiano at the Stuttgart University of Music and Performing Arts (Germany) under the guidance of fortepianist Stefania Neonato. He also teaches at the Tübinger Musikschule and works as an assistant in the fortepiano studio at the HMDK Stuttgart. He has been invited as a guest lecturer and to teach masterclasses at several institutions around the world, including the University of São Paulo, the University of Stuttgart, Grand Valley State University (USA), and the Campinas Conservatory (Brazil).
Throughout his training, he studied at institutions such as the École Normale de Musique de Paris, where he received the Diplôme Supérieur de Concertiste under the guidance of Rena Shereshevskaya, and the Hochschule für Musik und Tanz Köln, where he completed his master’s degree in modern piano with Claudio Mehner and Paulo Álvares. He also spent a period at the Université Paris-Sorbonne, where he began his path in musicological research. In Masterclasses he was able to receive valuable artistic advice from artists including Maria João Pires, Malcom Bilson, Olga Pashchenko, Edoardo Torbianelli, Piet Kuijken, Clive Brown, Nelson Goerner, Jacques Rouvier, Tuija Hakkila, Roberto Poli, Sonia Rubinsky, Paulo Álvares, Andre Laplante, Cristina Ortiz.
A prizewinner in competitions such as Artlivre, Villa-Lobos, and FUNDARTE, Pedro is also a frequent presence at international festivals and symposia, including the Campos do Jordão Festival, the Fondation Royaumont (France), and the Westfield Center at Cornell University (USA). His work has been supported by institutions such as BNDES, Deutscher Musikrat, DAAD, Gesellschaft der Freunde der HMDK, the Ministry of Culture and Science of North Rhine–Westphalia, and Fondation Royaumont.
Between concert stages and archives, scores and historical treatises, Pedro Sperandio is building a trajectory that reaffirms the role of the pianist as an artist-researcher in the 21st century.