Confidence for the living – spiritual settings for the comfort of the bereaved
Heinrich Schütz “Wie lieblich sind deine Wohnungen”, SWV 29
Psalm 84 for 8-part choir and continuo
Heinrich Schütz “Die mit Tränen säen”, SWV 378
motet for 5-part choir a cappella
Johannes Brahms “A German Requiem”
for soloists, choir and orchestra, Op. 45
Vladimir Jurowski - Conductor
Maria Bengtsson - Soprano
Matthias Goerne - Baritone
Chor des Jungen Ensembles Berlin
Vinzenz Weissenburger - Chorus Master
Ralf Sochaczewsky - contuctor (Schütz) and choir instruction (Brahms)
“30 years fall of the Berlin Wall. Looking back and looking forward”
Panel discussion (in German)
3.10 pm, Südfoyer of the Philharmonie Berlin
with Dr. Jens Schöne, Deputy Commissioner of Berlin for the files of the “Stasi” (former state security agency of East Germany) & Wolfgang Thierse, former President of the German Bundestag
Moderator: Michael Bienert, managing director of the Ernst Reuter Archives Foundation
Kindly supported by
Vladimir Jurowski - Conductor
Vladimir Jurowski has been chief conductor and artistic director of the Rundfunk-Sinfonieorchester Berlin since autumn 2017. The conductor, pianist and musicologist Vladimir Jurowski takes on all challenges whether they be stylistic, technical or music-historical.
After receiving training at the Moscow Conservatory Vladimir Jurowski emigrated to Germany in 1990. Here he continued his studies at the music conservatories in Dresden and Berlin – conducting with Rolf Reuter; correpetition and song accompaniment with Semion Skigin. In 1995 he made his international debut at the British Wexford Festival with Rimski-Korsakov’s Mainacht and in the same year at the Royal Opera House Covent Garden with Nabucco. Subsequently he was, among other things, First Kapellmeister of the Komische Oper Berlin (1997- 2001) and Music Director of the Glyndebourne Festival Opera (2001-2013). In 2003 Vladimir Jurowski was appointed Principal Guest Conductor of the London Philharmonic Orchestra and has been its Principal Conductor since 2007 and will stay on until summer 2021. He is also Artistic Director of the State Academic Symphony Orchestra Yevgeny Svetlanov of the Russian Federation until summer 2021, Artistic Director of the International George Enescu Festival in Bucharest and Principal Artist of the Orchestra of the Age of Enlightenment in Great Britain. He works regularly with the Chamber Orchestra of Europe and the ensemble unitedberlin. With the start of the 2021/2022 season, Vladimir Jurowski will take on one of the most prestigious roles in German musical life in addition to his engagement with the Rundfunk-Sinfonieorchester Berlin, by becoming General Music Director of the Bavarian State Opera in Munich, a position for which he signed a contract in 2018.
Vladimir Jurowski is in high demand around the world as a guest conductor. He has conducted the major orchestras of Europe and North America, including the Berlin, Vienna and New York Philharmonic Orchestras, the Royal Concertgebouw Orchestra Amsterdam, the Cleveland and Philadelphia Orchestras, the Boston and Chicago Symphony Orchestras, the Tonhalle Orchestra Zurich, the Staatskapelle Dresden and the Leipzig Gewandhaus Orchestra. As a guest conductor, Vladimir Jurowski conducted Prokofiev’s Semyon Kotko with the Radio Filharmonisch Orkest of the Netherlands in the Concertgebouw Amsterdam, made his debut at the Salzburg Easter Festival with the Staatskapelle Dresden, debuted with the Czech Philharmonic Orchestra, performed with the Gustav Mahler Youth Orchestra and the Mahler Chamber Orchestra at the Lucerne Festival and conducted a unique project with the London Sinfonietta in Moscow to mark the UK-Russian Year of Culture. Together with the Rundfunk-Sinfonieorchester Berlin he performed in Japan in spring 2019 and at the George Enescu Festival in Bucharest in autumn 2019.
The first joint CD by Vladimir Jurowski and the Rundfunk-Sinfonieorchester Berlin from 2015 immediately marked a milestone. Alfred Schnittke’s Symphony No. 3 was followed in 2017 by a Strauss/Mahler recording and a CD of violin concertos by Britten and Hindemith with soloist Arabella Steinbacher. Further studio recordings and RSB concert recordings on CD will follow in 2020/2021.
Vladimir Jurowski has been the recipient of numerous awards for his achievements, including various international record prizes. In 2018, the Royal Philharmonic Society Music Awards named him Conductor of the Year. In 2016, he was bestowed an honorary doctorate from Prince Charles at the Royal College of Music in London. In 2020, Jurowski will be awarded the Order of Cultural Merit by the Romanian President in recognition of his work as Artistic Director of the George Enescu Festival.
Maria Bengtsson - Soprano
The Swedish soprano Maria Bengtsson studied at the University of Music in Freiburg. From 2000 to 2002 she was an ensemble-member of the Volksoper in Vienna, from 2002 to 2007 ensemble-member at the Komische Oper in Berlin, where she sang leading roles under Kirill Petrenko in many of his most important productions. Since 2007 the artist is working freelance.
Maria Bengtsson has performed at the Royal Opera House Covent Garden in London, the Opera National de Paris, the Staatsoper Unter den Linden in Berlin, the Bavarian State Opera Munich, the Oper Frankfurt, the Opéra National de Bordeaux, the Cologne Opera, the Opéra National de Lyon, the Teatro La Fenice in Venice, the Vlaamse Opera, the Theater an der Wien, the Teatro alla Scala di Milano, the Bolshoi Theater in Moscow, the Vienna State Opera, the Salzburg Festival, the Semper Opera and at the festival of Aix- Provence.
Her most important roles are among others Donna Anna and Donna Elvira (Don Giovanni), Fiordiligi (Così fan tutte), Countess (Le nozze di Figaro), Pamina (The Magic Flute) and Ilia (Idomeneo) by Mozart. The title part in Daphne, the title part in Arabella, Countess in Capriccio and Feldmarschallin ( Der Rosenkavalier ) by Richard Strauss. The Governess in Turn of the screw by Benjamin Britten, Cunégonde (Candide) by Leonard Bernstein and the title role of Monteverdi’s” L’Incoronazione di Poppea”. Maria Bengtsson sang the European premiere of “The Great Gatsby” John Harbison as Daisy Buchanan in season 2015/2016 at the Semper Opera in Dresden.
As a concert singer and song interpreter she performed among others at the Elbphilharmoniea and the Laeiszhalle in Hamburg, the Philharmonie Berlin, Carinthian Summer in Carinthia, the Berliner Festspiele, the Konzerthaus Wien, the Musikverein Wien, the Gewandhausorchester Leipzig, the Konzerthaus Berlin, the Klangbogenfestival Wien, the Gulbenkian Foundation in Lisbon, the Teatro Nacional de São Carlos in Lisbon and the Alte Oper in Frankfurt. Maria Bengtsson also performed with the Israel Philharmonic Orchestra under Kirill Petrenko in Israel.
Other Performances included Donna Anna at the Staatsoper Berlin, Verdi Requiem at the Staatsoper in Hamburg,e Turn of the screw at the Staatsoper in Berlin, Liederabend with Sarah Tysman in Wiesbaden, Arabella at the Maifestspiel in Wiesbaden, Vier letzte Lieder in Wiesbaden and at the Dresden Philharmonie.
Matthias Goerne - Baritone
Matthias Goerne is one of the most internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Conductors of the first rank as well as eminent pianists are among his musical partners.
Matthias Goerne has appeared on the world’s principal opera stages, including the the Metropolitan Opera in New York, the Royal Opera House, Covent Garden; Teatro Real in Madrid; Paris National Opera; and the Vienna State Opera. His carefully chosen roles range from Wolfram, Amfortas, Kurwenal, Wotan, Orest, and Jochanaan to the title roles in Alban Berg’s “Wozzeck” and Béla Bartók’s “Duke Bluebeard’s Castle”.
Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA award, and the Diapason d’or arte. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, he has completed the recording of a series of selected Schubert songs on 12 CDs for harmonia mundi (The Goerne/ Schubert Edition) with eminent pianists. His latest recordings of Brahms songs with Christoph Eschenbach and of Mahler songs with the BBC Symphony have received rave reviews.
From 2001 through 2005, Matthias Goerne taught as an honorary professor of song interpretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001, he was appointed an Honorary Member of the Royal Academy of Music in London. A native of Weimar, he studied with Hans-Joachim Beyer in Leipzig, and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau.
Cantus Domus opens up the traditional concert set-up towards vivid stagings and ground-breaking cooperations, presenting its audience new approaches to choir music.
While being a classical choir, Cantus Domus frequently seeks out ways off the beaten track of performance routine, by performing in unusual locations (J. S. Bach: Mass in B minor, Kraftwerk Berlin, 2015) or by involving the audience (J. S. Bach: Matthäuspassion, Kammermusiksaal der Berliner Philharmonie, 2018). Trademark of the choir are their „ConceptConcerts“. Initiated in 2008 by Paul Liebrecht and refined ever since, these concerts regularly present elaborate choreographies and ambitious musical performances in intriguing locations (e.g. the German premiere of J. Wolfe: Anthracite Fields, 2018, A. Honegger: Le Roi David at Vollgutlager, Alte Kindl Brauerei in cooperation with choreographer Christoph Winkler, 2017, SYNTHESIS for choir, synthesizer and DJ at Kindl-Zentrum für zeitgenössische Kunst und Kultur, 2015 or SINGINGPOOL at Stadtbad Steglitz).
Cantus Domus was founded in 1996 by Lena Schönfelder and has since been directed by Ralf Sochaczewsky. The choir transcends genre boundaries, has a wide variety of artistic expression and its performances develop a force that can be overwhelming. In the last two years alone, Cantus Domus – in groups of varying size and composition – performed in five different countries, cooperated with 30 orchestras, choirs or bands in over 40 performances and staged the brilliantly reviewed premiere of an opera for choir they had commissioned (F. Schwemmer: Macbeth, 2016, stage direction: C. Rindfleisch, Libretto U. Küchler und J. Fraune). Inspiring international encounters recently took place with Bang on a Can All Stars and Wood River from New York, Vox Humana from Oslo, and with the Georgian choirs Shavnabada and Tutarchela. Cantus Domus has worked with the Kammerakademie Potsdam and Antonello Manacorda (2018), the Estonian National Symphony Orchestra and Neeme Järvi (2018), Konzerthausorchester Berlin (2013), Deutsches Symphonie-Orchester Berlin and Jonathan Nott (2012) as well as with Rundfunkchor Berlin and Simon Halsey (2007).
In addition different chamber ensembles of Cantus Domus do side projects that often cross the boundaries between classical and indie/pop music, such as performances at festivals like PEOPLE or Haldern Pop, or cooperations with Bon Iver, Charlotte Greve, Damien Rice, Helga Davis, Kjartan Sveinsson, Kurt Wagner, Lisa Hannigan, Loney Dear, Mads Brauer, Shara Nova, Stargaze, The Slow Show and Tocotronic.
Cantus Domus is a member of the Chorverband Berlin and is funded by the Berlin Senat Department for Culture and Europe. The choir has been awarded the first prize at the choir competition of the Landesmusikrat Berlin as well as the third prize at the eighth German choir competition of the Deutscher Musikrat 2010.
Chor des Jungen Ensembles Berlin
Chor des Jungen Ensembles Berlin
The choir of Junges Ensemble Berlin is a standard-bearer for young, outstanding music making in Berlin. It comprises around 90 students and young professionals between the ages of 18 and 40, who share a love of music. Its members are united in their commitment to a high standard of music-making as well as a joy in challenging choral repertoire. In 2017 the musical direction of the choir was taken by Vinzenz Weissenburger.
In 2018 the Junges Ensemble Berlin celebrated its 60th anniversary. The choir can look back on considerable successes that show its musical diversity; from choral-symphonic works such as Verdi’s “Messa da Requiem” or Bach’s Passions to a cappella works. It also crosses genre boundaries, for example singing with Barbra Streisand in the Mercedes-Benz Arena Berlin in 2013. In spring 2014, the ensemble released its first professional CD recording; Arthur Honegger’s symphonic psalm “King David” on Rondeau Classics.
As well as concerts in Germany, the choir often makes guest appearances abroad. In autumn 2017 the choir travelled to China, performing in renowned concert halls in Beijing, Wuhan, Hangzhou and Changsha. Previously, the choir accepted an invitation from the Orquesta Filarmónica de Medellín to perform in Colombia.
In May 2018 the choir achieved fifth place with “very good success” in the highly competitive category “Mixed Choirs – from 32 participants” at the German Choir Competition in Freiburg, having finished with “outstanding success” at the Berlin Choir Competition in 2017. This was a continuation of the success at the 2014 German Choir Competition in Weimar, where the choir also finished with “very good success” and won a special prize for its interpretation of the folk song “Der Kuckuck und der Esel”.
The choir of Junges Ensemble Berlin also initiates projects that engage with wider society, leading a performance of Handel’s oratorio “Semele” with refugees in April 2017, and the co-operative “Images of Light” project with the Otto-Hahn-Schule Berlin-Neukölln in both Berlin and Istanbul in March 2011. In addition, the choir invited students of the Comenius-Schule Berlin-Wilmersdorf and the Jane-Addams-Schule Berlin-Friedrichshain to take part in a performance of Beethoven’s 9th Symphony in the Berlin Konzerthaus in November 2012.
The choir of Junges Ensemble Berlin is one of the leading amateur choirs in Germany. It is a member of the Berlin Choir Society (Chorverband Berlin e.V.) and has been supported by the Berlin state government since 2009.
contuctor (Schütz) and choir instruction (Brahms)
Ralf Sochaczewsky - contuctor (Schütz) and choir instruction (Brahms)
Ralf Sochaczewsky received conducting lessons under Christian Grube and Marc Piollet at the Berlin University of the Arts. Later he studied choir conducting under Jörg-Peter Weigle and orchestral conducting under Prof. Reuter at the Hochschule für Musik “Hanns Eisler”.
He directs the Berlin choir Cantus Domus, with which he won a 1st prize at the Berlin Choir Competition in 2017 and a 3rd prize at the 8th Choir Competition of the Deutscher Musikrat in Dortmund . From 1998 to 2012, he conducted the Ensemberlino Vocale choir and successfully participated in choir competitions (1st prize at Chorfest Bremen (Bremen Choir Festival) 2008).
He regularly works with choirs like the Berlin Vocalconsort, the Cappella Amsterdam, the RIAS Kammerchor, and the Berliner Rundfunkchor.
In 2016, he conducted the European premiere of the oratorio “Anthracite Fields” by Julia Wolfe, which won the Pulitzer Prize in 2015, with the DR Vocalensemble and Bang on a Can-All Stars.
Ralf Sochaczewsky has performed with orchestras such as the London Philharmonic Orchestra, the Konzerthausorchester Berlin, the National Radio Orchestra Bucharest, and the Chamber Orchestra of the Minsk Philharmonic. He conducted operas at the Bolshoi Theatre Moscow, the Komische Oper Berlin, the Opera National du Rhin, and the Lithuanian National Opera.
Ralf Sochaczewsky collaborated with various pop groups and artists such as Stargaze and André de Ridder, Bon Iver, Damien Rice, Lisa Hannigan, and Tocotronic. With Cantus Domus, he is a regular guest at festivals such as HaldernPop and KalternPop.
He teaches choral conducting at the Hochschule für Musik “Hanns Eisler”. For his great service to the Berlin choir scene, the Chorverband Berlin awarded him the Geschwister Mendelssohn Medal in 2017.
Sun 3 November 2019 - 4 pm Philharmonie Berlin
- from € 20
- The Philharmonie opens at 3 pm.
- Concert without introduction
It is possible to buy your tickets online at www.rsb-online.de , by telephone, email or in person at our visitor service, or at the daytime or evening box office. Book your tickets until the last working day before the respective concert on our homepage and simply print them out at home in A4-format. Payment is by credit card; a processing fee of 2 € will be charged. This possibility is available for concerts in the Konzerthaus Berlin and the Philharmonie Berlin. All theatre box offices, travel agents and advance ticket sales offices in Berlin and Brandenburg affiliated to “eventim” also sell tickets for concerts by the RSB. The customary advance ticket fees and, where relevant, costs for postage will be charged. The evening box office opens one hour before the concert starts on the day of the concert. If an introductory event is taking place before the concert, the evening box office will open 90 minutes before the concert begins.
Special group rates are available for school pupils and travel groups, companies, societies and major customers. Please contact our visitor service directly if you are interested.
School pupils, trainees and students up to the age of 27, as well as the unemployed, can buy tickets for the RSB's own concerts for 10 € each at the evening box office before the respective concert. This offer applies only when tickets are still available. The organisers take responsibility for the disposition of the tickets. Reductions can be granted only when buying tickets personally and presenting the corresponding documents and personal identification. No more than one reduced ticket per person may be purchased. This ticket is non-transferrable. Severely disabled persons entitled to an escort can address their request for tickets to the visitor service. This service is happy to offer advice regarding the contingent of places available.
› for all those under 30
› Sit in the best seats for one year as from date requested
› Fixed price of 8 € for concerts or 10 € for opera and ballet (depending on availability at the evening box office)
› valid all participating ensembles' own events and venues: RundfunkSinfonieorchester Berlin, Rundfunkchor Berlin, RIAS Kammerchor, Deutsches Symphonie-Orchester Berlin, Konzerthaus Berlin, Deutsche Oper Berlin, Komische Oper Berlin, Staatsoper im Schiller Theater, Staatsballett Berlin › Monthly bonus and visits to rehearsals, raffle to win a role as an extra etc. › All advantages for only 15 €, further information: www.classiccard.de
› for young people aged 14 to 21 › Experience Berlin's top musicians: Rundfunk-Sinfonieorchester Berlin, Deutsches Symphonie-Orchester Berlin, Konzerthausorchester Berlin, Berliner Philharmoniker, Junge Deutsche Philharmonie, Bundesjugendorchester › Six concerts per season for a package price of only 36 € › Additional bonus as well as special concert introductions, talks with musicians etc., further information: www.berlinerjugendabo.de
Route directions & parking location
It is easy to access the Philharmonie by public transport:
Buses M84, M85, N2 to Kulturforum or Varian-Fry-Str. or Potsdamer Platz + 4 minutes walk, 200 to Philharmonie
Underground U2 to Potsdamer Platz + 10 minutes walk
S-Bahn (city railway) S1, S2, S25, S26 and regional trains to Potsdamer Platz + 10 minutes walk
Current information: due to building works around the Philharmonie, traffic is being diverted in the area of Herbert-von-Karajan-Straße and Tiergartenstraße. For further information, please consult the website of the Philharmonie.
There are a limited number of charged parking spaces on the site of the Philharmonie:
per hour or part-hour 2.50 Euros
day maximum 20.00 Euros
lost ticket 20.00 Euros
evening rate 7 pm to 5 am 7.00 Euros
Sunday flat rate 6.00 Euros
Please also use parking possibilities in the Sony Center (entrances Ben-Gurion- and Bellevuestraße) as well as Potsdamer Platz Arkaden (entrance to underground parking on Reichpietschufer) and in the car park on Schöneberger Ufer. All these are public parking areas belonging to the City of Berlin, on behalf of which they are administrated by APCOA Autoparking GmbH.
The public parking areas on Herbert-von-Karajan-Straße (on the western side of the Philharmonie) provide a limited number of identified parking spaces for the disabled. Unfortunately, it is generally not possible to reserve parking spaces.
As the Berlin Philharmonic Hall is a listed building, unfortunately it is not fully accessible in all areas. Further information regarding entrances for the disabled, places in the disabled box, and offers of help for the sight and hearing impaired are available on the website of the Philharmonie.
Concert visitors with severely disabled passes marked B will receive a free ticket for their escort when buying a ticket. Our visitor service (link) is happy to assist with any further questions. On site, you can contact the staff of the events service EVENTTEAM, who will be happy to help you in any way.
The building opens one hour before the start of concerts.
Please note that visitors may not take large bags, rucksacks or coats into the concert hall with them. However, coats can be handed in, free of charge at the cloakrooms in the foyer or on the first floor opposite Block A right. Please collect your coats and items of luggage as soon as possible after the end of the concert. Personal items which are not collected in good time will be left with the porter at the stage door (in the direction of Potsdamer Platz) and can be collected from there upon presentation of your cloakroom ticket.
There is no fixed dress code for concerts by the RSB. Depending on your taste and how you feel most comfortable, you can attend in suit or evening gown, or in jeans and a T-shirt, for example.
Snacks and drinks are sold in the foyer of the Philharmonie before concerts and in the concert intervals. These can be ordered in advance for the opening of doors and the interval, please ring tel. 030 265 15 24 or via email to email@example.com.
No food or drink may be taken into the concert hall.
Symphonic and chamber music concerts generally take 2 hours including a 20-minute interval.
Attention is drawn to significant deviations from this rule in the concert calendar.
Should you arrive too late for a concert, it will depend on the works being played when and whether there will be late admissions. Please speak to the staff of the respective venue. It may not be possible for you to take up your actual seat until the concert interval, as the music cannot be disturbed. No refund on ticket prices is possible.
Our programmes are sold by the admission stewards before each concert and in the interval, costing 3 € each.
RSB subscribers receive a free copy of the relevant programme on presentation of a voucher.