Conductor and composer, Gabriel first studied at the Conservatoire de Reims, where he obtained prices for conducting, writing, and piano accompaniment, in parallel with a degree in musicology at the University of Reims Champagne-Ardenne.
In 2010, he entered the Conservatoire de Paris and obtained a Master’s degree in music writing thanks to several prices (harmony with Yves Henry, counterpoint with Pierre Pincemaille, fugues with Thierry Escaich and 20th century writing with Alain Mabit). He obtained as well an analysis price, a film music price and studied orchestration and arrangement.
He also joined Georges Pehlivanian’s introductory orchestra conducting class, where he received a very good mention award, which allowed him to work regularly with the Orchestra of Laureates of the Conservatories in various programs.
He has also conducted the Victor Hugo Franche Comté Orchestra and the Reims Opera Orchestra.
He composed many stage music, including his first opera Forge! in 2016, inspired by the Gascon tale Pied d'Or, premiered at the Reims Opera in 2017.
Gabriel also composes instrumental music, especially for the brass family.
In recent years, Gabriel has strongly developed his activity as a conductor: he has taken the musical direction of several operas in productions for the Reims Opera, such as Albert Herring, Benjamin Britten’s chamber opera or Thomas Nguyen’s The Little Matchmaker from Andersen’s Tale.
For more than ten years now, Gabriel has been in charge of various symphonic orchestras, which allows him to play many great pieces of the repertoire. In Paris, he was the co-director of the orchestra Impromptu for 4 years, and in Reims, he has conducted the orchestra Euphony since its creation in 2012.
In September 2017, he was a finalist in the 55th international competition for young conductors in Besançon.
In 2018, he created the Ensemble Instrumental de Champagne: a variable geometry ensemble, its project is to offer transcriptions of the major pages of symphonic music through adaptations for ensemble reduced to one per part. Thus, by freeing itself from the logistical constraints associated with a large symphony orchestra, this ensemble can easily travel and delocalize the music in all places and on all occasions.