Verdi Requiem
Celebrating Europe in Frankfurt24 MAI 2025 GROSSER SAAL
ENTHUSIASTENCHOR
CHOR UND ORCHESTER DER HOCHSCHULE FÜR MUSIK UND DARSTELLENDE KUNST FRANKFURT
FLORIAN LOHMANN Conducting
DANIELA KÖHLER Soprano
IRENE ROBERTS Mezzo-Soprano
MATTHEW NEWLIN Tenor
WILHELM SCHWINGHAMMER Bass
The concert will take place without an intermission. We ask you not to interrupt the sequence of movements of the individual works with applause.
- Program
Giuseppe Verdi (1813-1901)
Messa da Requiem
(1874)
Requiem
Sequentia
Dies irae
Tuba mirum
Liber scriptus
Quid sum miser
Rex tremendae majestatis
Recordare
Ingemisco
Confutatis
Lacrimosa
Offertorium
Domine, Jesu Christe
Hostias
Sanctus
Agnus Dei
Lux aeterna
Libera me
- Greeting from Christine Lagarde and Markus Fein
In a world that often feels divided, music remains a universal language, transcending borders and uniting us in the shared experience of beauty and emotion. In this spirit of unity, we warmly welcome you to this concert. Verdi’s Requiem is a profound exploration of the human condition – a journey of deep introspection and powerful expression. It serves as a testament to the enduring human spirit and reminds us of our collective pursuit of peace and understanding. This concert is more than just a performance; it is a celebration of community and collaboration. Co-hosted by the Alte Oper Frankfurt and the European Central Bank, and with the support of the Frankfurt University of Music and Performing Arts (HfMDK), this project embodies our commitment to cultural exchange, unity and diversity – values that lie at the heart of the European project. Today’s ensemble is a vibrant mosaic of voices, featuring 347 enthusiastic amateur singers alongside the choir and orchestra of HfMDK. Representing over 20 nationalities and a wide range of professions, they reflect the rich diversity of our community and the strength we can draw from it. As you immerse yourself in the grandeur of Verdi’s Requiem, we invite you to embrace the power music has to unite us and inspire hope.
CHRISTINE LAGARDE
President of the European Central Bank
DR. MARKUS FEIN
Artistic and Managing Director of Alte Oper Frankfurt
- About this concert
A three-day rehearsal phase in March, another at the beginning of May and then individual rehearsal dates - the 347 singers who successfully applied to take part in the Alte Oper's current Enthusiastenchor project were expected to show a great deal of commitment. However, this participatory format not only offers committed amateur singers a professional-supported approach to a major work of choral literature, but also the opportunity to work with budding musicians. Together with the singers of the choir and the instrumentalists of the orchestra of the Frankfurt University of Music as well as the vocal soloists and conductor Florian Lohmann, more than 500 performers will populate the stage this evening. The enthusiasts among them - the youngest born in 2006, the oldest in 1943 - come from a total of 29 nations on four continents. A huge ensemble dedicated to a huge work. Verdi wrote his Messa da Requiem in memory of the Italian writer Alessandro Manzoni. However, instead of sacred meditation, this is pure drama and emotion. Even though the composer demanded that “this mass must not be sung like an opera”, his personal style was shaped by musical theater. The result: a work that demands the full commitment of everyone involved. The Alte Oper launched the “Enthusiastenchor” join-in project two years ago; it is to be continued next May with a performance of Brahms' German Requiem. Registrations are possible from September 1 to December 8, 2025.
We hope you enjoy the concert.
Photography, video and audio recordings are not permitted. Please switch off your cell phones before the concert. Thank you very much!
- Lyrics
- REQUIEM
Requiem aeternam dona eis,
Domine,
et lux perpetua luceat eis.
Te decet hymnus,
Deus, in Sion,
et tibi reddetur votum in
Jerusalem;
exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis,
Domine,
et lux perpetua luceat eis.
Kyrie eleison.
Christe eleison.
Eternal rest grant them,
Lord,
and eternal light shine upon them.
Praise is due to you,
God in Zion,
and worship shall be yours in
Jerusalem;
hear my prayer, Lord,
all flesh comes to you.
Eternal rest grant them,
Lord,
and everlasting light shine upon them.
Lord, have mercy!
Christ, have mercy!
- DIES IRAE
Dies irae, dies illa
solvet saeclum in favilla.
Teste David cum Sibylla
quantus tremor est
futurus,
quando judex est
venturus,
cuncta stricte discussurus!
Tuba mirum spargens sonum
per sepulchra regionem,
coget omnes ante thronum.
Mors stupebit et natura,
cum resurget creatura,
judicanti responsura.
Liber scriptus proferetur,
in quo totum continetur,
unde mundus judicetur.
Judex ergo cum sedebit,
quidquid latet apparebit,
nil inultum remanebit.
Quid sum miser tunc dicturus,
quem patronum rogaturus,
cum vix justus sit securus?
Rex tremendae majestatis,
qui salvandos salvas gratis,
salva me, fons pietatis.
Recordare, Jesu pie,
quod cum causa tuae viae,
ne me perdas ille die.
Quaerens me sedisti lassus,
redemisti crucem passus;
tantus labor non sit cassus.
juste judex ultionis,
donum fac remissionis.
ante diem rationis.
Ingemisco tanquam
reus,
culpa rubet vultus meus;
supplicanti parce, Deus.
Qui Mariam absolvisti,
et latronem
exaudisti;
mihi quoque spem dedisti.
Preces meae non sunt dignae,
sed tu, bonus, fac benigne,
ne perenni cremer igne.
inter oves locum praesta,
et ab hoedis me sequestra,
Statuens in parte dextra.
Confutatis maledictis,
flammis acribus addictis,
voca me cum benedictis.
Oro supplex et aclinis,
cor contritum quasi cinis,
gere curam mei finis.
Lacrymosa dies illa
qua resurget ex favilla
judicandus homo
reus.
huic ergo parce Deus,
pie Jesu Domine,
dona eis requiem!
Amen!
Day of vengeance, day of sins,
the universe will be inflamed,
as Sibyll and David proclaim.
What horror and
anguish there will be,
when the judge comes,
with questions
to severely examine all complaints!
The trumpet will sound loudly,
penetrating the tombs of the earth,
forcing all to the throne.
Death and life will tremble
when the world will rise to give
account to the Lord.
And a book will be opened,
in which everything will be recorded
that the world will one day have to atone for.
When the judge then sits to judge,
the hidden things will be cleared up;
nothing can flee from vengeance.
Alas! What will I poor one say,
what advocate will I ask,
when the righteous themselves despair?
King of terrible powers,
free is your mercy:
Source of grace, let mercy reign!
Mild Jesus, will you consider,
that you came for me,
do not lose me on that day.
You went wearily in search of me,
hung on the cross for my salvation,
may this effort reach its goal.
Judge of righteous vengeance,
be lenient in my cause,
before the last day appears.
Sighing I stand,
guilt-ridden,
my cheeks glow red with shame,
let my plea obtain mercy.
You once forgave Mary,
you then forgave the thief,
you also gave me hope.
Little is my supplication before thee;
but let it be done, thou good one,
that I may escape hell.
Give me pasture with the sheep,
separate me from the flock of goats,
set me on the right side.
If hell will reward the damned without mercy,
If hell will reward the damned without mercy,
call me to the Blessed Abode.
I cry out to you, bowed down with guilt,
deeply contrite in heartfelt loyalty,
grant me a blessed end.
Day of tears, day of travail,
from the ashes will rise
to judgment the man full of
sins!
Let him, God, find mercy,
mild Jesus, ruler you,
grant eternal rest to the dead.
Amen!
- OFFERTORIO
Domine Jesu Christe,
rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni et
de profundo lacu.
Libera eas de ore
leonis,
ne absorbeat eas tartarus,
ne cadant in
obscurum;
sed signifer sanctus Michael
Repraesentet eas in lucem
sanctam,
quam olim Abrahae
promisisti,
et semini eius.
Hostias et preces
tibi, Domine,
laudis offerimus,
tu suscipe pro animabus illis
quarum hodie memoriam facimus,
Fac eas, Domine,
de morte transire ad vitam,
quam olim
Abrahae promisisti,
et semini eius.
Lord Jesus Christ,
King of Glory,
deliver the souls of all believers
from the punishments of hell and from
the deep abyss.
Deliver them from the jaws of the
lion,
so that hell does not devour them
and they do not fall into the
darkness; but guide them Saint Michael,
the standard bearer,
into the holy light,
which you once promised
to Abraham
and his descendants.
We offer sacrifices and prayers
to you, Lord,
in praise,
accept them for those souls
whom we remember today,
let them, O Lord,
pass from death to life,
which you promised
to Abraham
and his descendants.
- SANCTUS
Sanctus, sanctus, sanctus
Dominus
Deus Sabaoth.
Pleni sunt coeli et
terra gloria tua.
Hosanna in excelsis!
Benedictus qui venit
in nomine Domini.
Hosanna in excelsis!
Holy, holy, holy,
is the Lord,
God of hosts.
Heaven and earth are filled
with your glory.
Hosanna in the highest!
Blessed is he who comes
in the name of the Lord.
Hosanna in the highest!
- AGNUS DEI
Agnus Dei, qui tollis
peccata mundi,
dona eis requiem.
Agnus Dei, qui tollis
peccata mundi,
dona eis requiem sempiternam.
Lamb of God, you take away
the sin of the world,
give them rest.
Lamb of God, you take away
the sin of the world,
give them eternal rest.
- LUX AETERNA
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum,
quia pius es.
Requiem aeternam dona eis,
Domine,
et lux perpetua luceat eis.
Eternal light shine on them, Lord,
with your saints,
for you are gentle.
Eternal rest grant them,
Lord,
and eternal light shine upon them.
- LIBERA ME
Libera me, Domine,
de morteaeterna,
in die ille tremenda,
quando coeli movendi sunt et terra
dum veneris
judicare saeculum
per ignem.
Tremens factus sum ego, et timeo,
dum discussio venerit
atque ventura ira.
Dies irae, dies illa,
calamitatis et miseriae,
dies magna et amara valde.
Requiem aeternam dona eis,
Domine,
et lux perpetua luceat eis.
Deliver me, Lord,
from eternal death
on that dreadful day,
when heaven and earth shake,
when you will then appear
to judge the world
by fire.
I stand trembling in fear,
when the reckoning approaches
and the wrath threatens.
Day of wrath, day of lamentation,
full of woe and lamentation,
bitter over all the masses.
Eternal rest grant them,
Lord,
and eternal light shine upon them.
- REQUIEM
- Introduction
Giuseppe Verdi: Messa da Requiem
Giuseppe Fortunino Francesco Verdi, born in October 1813 as the son of a poor innkeeper in the village of Le Roncole near Busseto in the (then French-occupied) Duchy of Parma, is still one of the most frequently performed opera composers today, together with Mozart, ahead of Wagner, Strauss and Puccini. Of his 26 operas, around half are part of the permanent repertoire on international stages. Giuseppe Verdi's extraordinary talent was recognized early on; he was soon given organ lessons. He was strongly encouraged by the art-loving merchant Antonio Barezzi, in whose house the Busseto Philharmonic Orchestra met. Barezzi, whose daughter Margherita Verdi then married in 1836, also made it possible for him to attend a grammar school and move to Milan in 1839. Here he was able to perfect his musical studies; it was here that he achieved his breakthrough as a composer with the opera Nabucco in 1842.
Above all, the chorus of the captive Jews in Babylonian exile from Act 3, “Va, pensiero, sull'ali dorate”, struck a chord with the times - in Lombardy, which was again under Austrian rule: the Italians' desire for freedom and independence. Verdi's name became closely associated with the Italian unification movement and was soon regarded as a patriotic slogan in a country divided into many individual states. The Italians shouted “Viva V.E.R.D.I.”, which actually meant “Viva Vittorio Emanuele Re d'Italia” and thus declared their allegiance to King Victor Emmanuel II, the future ruler of a united Italy. Verdi was also temporarily a member of the Italian united parliament.
Although his work for the musical theater clearly makes up the majority of his oeuvre, Verdi also turned to other genres: Among other things, he wrote a nocturne with flute (1839), a piano romance (1865), a string quartet in E minor (1873), four important “Pezzi sacre” (Stabat mater, 1896/97, Te Deum, 1895/96, Ave Maria, 1879/80 and Laudi alla Vergine Maria, 1887/88) - as well as a Requiem. This work, composed in 1874, has a long history that begins with the death of another superstar of Italian opera: After Gioachino Rossini died in November 1869, Verdi came up with the ambitious plan of a Mass à Rossini: The twelve most important composers in Italy were each to compose a movement for it, and he himself was to contribute the finale. On the first anniversary of Rossini's death, the work was to be performed in the main church of Bologna, the city that had been Rossini's musical home.
Although everyone involved delivered on time (Verdi set the chorus Libera me to music between August 1 and 20, 1868), the project got caught up in the wheels of Bologna's cultural bureaucracy. Intrigue and local cronyism ultimately prevented the performance. Resigned and full of disappointment, Verdi dropped the project: "I don't love superfluous things. There are so many masses for the dead. Far too many. It is unnecessary to compose one more." The scores of the Mass à Rossini disappeared into the archives for more than a century. It was not until September 11, 1988 that they were brought back to life in Stuttgart: at the premiere by the Gächinger Kantorei under the direction of Helmuth Rilling.
Verdi initially refrained from the project of a requiem - but not from composing. In 1871, his opera Aida was staged with resounding success in Cairo; in 1873, the aforementioned String Quartet in E minor was composed in Naples. Then, on May 22 of that year, Alessandro Manzoni, another artist he passionately admired, died. The writer is regarded as one of the leading figures of the Risorgimento, Italy's liberation and unification movement. Verdi had already read his novel I promessi sposi (The Betrothed, 1825/26) as a teenager at the age of 16. After his first and only encounter with the poet, he noted with emotion: “I would have fallen to my knees before him if people were allowed to worship him.”
To memorialize Manzoni, Verdi took up the old requiem plan again. But this time he, who had hardly put a note of sacred music down on paper before, wrote everything alone - either on his country estate Sant'Agata near his home village in northern Italy or in Genoa, where he spent the winter months from 1874. Here, in the stately Palazzo Doria, where he lived with his (second) wife in a suite of 20 rooms, he wrote in a letter: “I have been here since the beginning of the year and do nothing but write down note after note for the greater glory of God, perhaps also for the future weariness of my fellow human beings.” However, he was happiest far away from the metropolis on his country estate, where he was able to devote himself to garden architecture, farming and horse breeding. Here, in his own words, he found the “freedom to live” and “time to think” and was able to follow his ideals of “naturalness and simplicity” both artistically and in terms of life as a whole. “A thousand times blessed is the farmer”, he noted from the bottom of his heart, “who is born, eats and dies without anyone being concerned with his actions!”
This time, no obstacles were placed in the way of the performance of the Requiem, for the end of which Verdi used the Libera me from the planned mass for Rossini: The premiere took place as planned on the first anniversary of Manzoni's death, May 22, 1874, in the church of San Marco in Milan and was a triumph. Afterwards, Verdi let a friend know "that the Requiem was a great success. A performance such as you will never hear again. Orchestra and choir - wonderful!"
An unconventional arrangement of the ensemble has been handed down: the orchestra was positioned on the left and the choir on the right. The reason for this deviation from the usual is possibly to be found in the papal ban on the presence of female choir members: In order to circumvent this decree at the premiere, the female singers - dressed entirely in black and their faces hidden behind a wide mourning veil - were hidden behind a grille to the conductor's right. The premiere was followed by a concert at La Scala in Milan, then Verdi took the Requiem on tour, including to Paris (where he conducted the work seven times at the Opéra-Comique in 1875 and four times at the Théâtre-Italien the following year), then to London, Cologne and Vienna.
Despite this success with audiences, Verdi's Messa da Requiem was controversial among his contemporaries from the outset due to its unconventional forms of expression. Instead of sacred meditation, a huge ensemble - tonight 347 choral enthusiasts, 100 choral singers and 77 instrumentalists from the Frankfurt University of Music and Performing Arts - brings pure drama and emotion to the stage. Mockers have called this requiem “Verdi's best opera”. Even though the composer demanded “that this mass should not be sung like an opera”, his personal style was entirely influenced by opera.
Even before the premiere, the conductor Hans von Bülow was certain that Verdi, the “all-powerful corrupter of Italian artistic taste”, had written an “opera in church garb”. Johannes Brahms, who was convinced that such a Missa da Requiem could “only be produced by a genius”, then stated: “Bülow has made a fool of himself for all time.” The stern Viennese critic Eduard Hanslick, on the other hand, found conciliatory words: “What may seem too passionate, too sensual in Verdi's Requiem is precisely the sentiment of his people, and the Italian has a good right to ask whether he may not speak Italian to the good Lord?”
With the trained eye of the playwright, Verdi captured the scenic potential of the text, which follows the Roman Catholic liturgy quite closely. At the center is the confrontation with the greatest mystery of human life: death. The most important creative device is the unity of language and tone; in addition, the instruments' sound speech is as expressive as it is all the more haunting due to its reduction.
Particularly impressive is the Dies Irae, the Day of Wrath or the Last Judgement, on which man must justify himself for his south. In his major work The Principle of Hope, the philosopher Ernst Bloch spoke of “blasting blows” and “bottomless cries”. A yawning abyss seems to open up. The brass section that calls the dead to eternal judgment is particularly gripping. Here Verdi resorts to a “spatialization” of the sound: at first, the trumpets sound as if from far away. As the sonority and volume increase, a feeling of insistent threat is created, which draws ever closer and finally culminates: a sound image for the hopelessness of the damned, who will be called before the eternal judge on Judgement Day. The conclusion is reserved for the soprano solo supported by the choir: “Libera me, Domine, de morte aeterna, / in die illa tremenda, / quando coeli movendi sunt et terra.” - “Save me, Lord, from eternal death, / in that day of terror, / when heaven and earth shake.” With the words "As you come to judge the world by fire. / Save me..." the powerful work ends.
Verdi's Messa da Requiem is not, as has sometimes been claimed, the work of an atheist, but - particularly due to the secular, dramatic spirit of the music - that of an agnostic. In other words, a person who neither denies nor affirms the question of the existence of God, who only believes that no human being can ever give a certain answer to the question of a creator of the world. So there is no promise of salvation, but uncertainty, not certainty of faith, but powerless, soundless despair at the end of the requiem mass of a composer who was convinced: “Every music has its heaven.”
Karen Allihn
- Participants
Conducting
Florian Lohmann
Soloists
Daniela Köhler (Soprano)
Irene Roberts (Mezzo-Soprano)
Matthew Newlin (Tenor)
Wilhelm Schwinghammer (Bass)
ENTHUSIAST CHOIR
Soprano
Ines Aderjan
Lisbeth Amberger
Valeria Andriani
Barbara Attinger
Priska Balondo
Isabella Bauer
Charlotte Becker
Annika Bennett
Tanja Bergmann
Julia Best
Ariane Bödecker
Samira Bohn
Anne Burkhard
Zhenyan Cheng
Vanessa Delfini
Regina Dorf
Nadine Enseleit
Mine Eul
Martina Fendt
Natalie Franken
Uta Freitag
Charlotte Fritsch
Christina Fündeling
Susanne Gabler
Christel Gade
Martina Ghosh-Schellhorn
Elmo Göbel-Groß
Katrin Goez
Regine Graml
Mira Gronau
Johanna Gronemann
Cathrin Haagn
Juliane Habermann
Katharina Hartmann
Lisa Charlotte Hartmann-Wenzel
Charlotte Haverkamp
Hilke Heinks
Petra Hermanns
Penelope Hoffmann
Jutta Hönsch
Raphaela Hotten
Hiltrud Johann-Laurent
Yu Jost
Peggy Klein
Marie Krabbe
Theresa Krokauer
Susanne Kruse
Angela Kunz
Carola Kunz
Franziska Lach
Katharina Limberger
Steffi Mänken
Denise Maslaiv
Clea Michel
Silvia Mieth
Ana Miletic
Hiromi Miyamoto
Uta Mohnhaupt, Dr.
Barbara Müser
Rika Orbay
Laetitia Perez-Duarte
Ssudabeh (genannt Ssudi) Peters
Constanze Pitsch
Constanze Pitz
Elena Plate
Annette Pommerening
Katharina Purr
Ingrid Rebmann
Siegrun Richter
Rachel Richter
Gisela Riedl
Lea Rohm
Stefanie Rohnke
Franziska Elisabeth Roos
Eva-Maria Rother
Anna Ruffert
Tepa Saari
Elisabetta Maria Saini
Ute Sandfuchs
Patricia Schad
Elena Schad
Konstanze Schiemann
Angelika Schmitz-Susseck
Iris Schöberl
Heike Schulte -Michaelis
Rosa Schürmann
Helke Solonch
Viviana Springmeier
Selina Thelen
Elisabeth Thielicke
Lisa Thlang
Christine Tschorn
Ebru Uzun
Ellen Van der Putten
Martina Viebrantz
Almuth Wagner
Sylvia Weimer
Marlene Wenzl
Ute Wirth
Rebecca Wokittel
Claudia Zanazzi
Margret Zeus
Alto
Christine Adam-Krieger
Manuela Althenn-Lux
Katrin Assenmacher
Nina Behm
Marianne Blumbach
Inka Burchert-Fricke
Imke Constapel
Linda Antonia de Wilde
Claudia Detje
Sabrina Dietrich
Diane-Arabel Dross
Michaela Feifel
Monika Fischer
Leona Frech
Claudia Frenzel
Silja Freudenberger
Michaela Fuchs
Christine Gartner
Katrin Geisler
Maria Gerdes
Susanne Gille
Michaela Gratz
Nika Grom
Charlotte Gronemann
Claudia Gündogan
Annette Harting
elke haumann
Astrid Hauptmann
Irmgard Heiden
Esther Heine
Fritzi Heinzmann
Antje Hellmann
Barbara Hench
Petra Herb
Maria Hertweck
Hanke Huber
Svetlana Jessen
Tina Kartmann
Vedrana Katanic
Anja Kienle
Susanne Kindermann
Franziska Klinge
Susanne Koberstein-Frey
Julia Koerding
Patricia Kohlenberger
Julia Konrad
Julie Krabbe
Katharina Krabbe-Besmehn
MARIA KRAL
Andrea Kröner
Anke Kühnle
Gabriele Kuls
Teresa Kunz
Kathrin Lang
Sibylle Langhans
Sabine Lanz
Dagmar Leracz-Mark
Miriam Leuther
Eva Renate Marx-Mollière
Antje Mayer-Schurig
Elizabeth Neiman
Cora Nies
Irmel Nüsser
Kristina Odonoghue
Ruth Petermann
Katja Pluto
Dr. Katrin Prechtel
Bernadette Rapp-Bauer
Marianne Reichel, Dr.
Sigrid Richter-Herbig
Claudia Rinck
Hannah Risser
Cornelia Rost
Evelyn Ruf
Ute Sattler
Laura Saxler
Oksana Schach
Michaela Schäfer
Helena Scheele
Paulina Schick
Katharina Schilling-Sandvoß
Stefani Schleyer
Johanna Schlögl
Cornelia Schmidt-Pschorn
Sigrid Schmitt-Riedmann
Ursula Schnellbächer
Barbara Schraven
Ortrud Schwenke
Bea Schwientek
Anja Simon
Gesine Sinnss
Gabriele Slutzky
Christina Soika-Giles
Carolin Spatzek
Henrike Specht
Maria Spychiger
Eva Stallmann-Gudenau
Edith TAPIA
Carolin Theis
Muriel Tiesset
Marianne Traub
Eva Trobisch
Regina van Lengen
Tatjana Varvitsiotis
Eulàlia Vidal
Ellen Volk
Ute Volz
Daisy von Hodenberg
Ulrike von Nathusius
Stefanie von Werder
Christine Wagner
Kira Wang
Cornelia Weinheimer
Simone Wennekamp
Vera Wolber
Katrin Zimmer
Tenor
Michael Bednar
Jürgen Blumbach
Olivier Bousquet
Thierry Bracke
Michael Briehl
Clemens Dahl
Martin Dutine
Lukas Fengler
Jens Fricke
Bernhard Fritz
Thomas Henneke
Rüdiger Kaiser
Hans-Peter Kießlich
Sebastian Klüsener
Johannes Kollien
Ulrich Leutbecher
Jonathan Lindemann
Piotr Loboda
Ruben Lorenz
Julian Mörth
Ralf Nitsche
Alexander Nüsser
Andreas Oesterley
Christoph öftring
Sebastien Perez-Duarte
JOSEP PUIGVERT
Laurin Rademacher
Thomas Reichert
Hans-Georg Sager
Peter Schmidt
Gero Scholz
Matthias Schrader
Holger Schröder
Bernhard Stang
Susanne Tettenborn
Klaus Wagner
Sebastian Westphal
Moritz Wirz
Bass
George Alnouri
Samuel Bauersfeld
Wolfram Boenkost
Martin Bouchon
Thomas Bruhn-Wessel
Tim Damaske
Max Ehmsen
Sebastian Engel
Reinhard Flögel
Claus Franz
Niklas Freybe
Hans-Joachim Friedrich
Andreas Fritzsche
Jens Gebhardt
Lukas Grätz
Jens Hambach
Dietmar Hemme
Martin Hentschel
Anton Holderied
Wolfgang Hönsch
Prof. Peter W. Hübner
Robert Hülse
Volker Janssen
Frank Jaschke
Ralph Klepper
Wolfgang Körner
Johannes Krabbe
Michiel Kuhlmann
Reinhard Kuls
Stephan Kuppler
Jürgen Lampert
Dr. Dirk Lemmermann
Joachim Lyskawa
Jörg Mayer
David Meffert
Klaus Meinhardt, Dr.
Viktor Mitura
Philippe Molitor
Reinhold Nebel
Christian Pütter
Paulo Rebelo
Uwe Sandvoß
Pascal Savić
Tobias Scheel
Thomas Schmeller
Reiner Schröer
Christoph Schulte
Horst-Walter Schwager, Dr.
Oliver Schwenn
Christoph Seehase
Peter Seidel
Niklas Traser
Felix Treede
Jochen Vollmer
Daniel von Bernstorff
Johannes Weßling
HFMDK CHOIR
Assistance
Salome Niedecken
Soprano
Marlene Bast
Teresa Bauer
Mirja Betzer
Lisa Marie Bodem
Tabea Sophie Eden
Jana Maria Frangart
Irene Galle
Jiaxuan He
Filippa Hegny
Britta Hellmann
Eungyu Kim
Paula Klöpfel
AnnaShanti Kumar
Helena Chiara Kunkel
Jungjin Lee
Ronja Meckel
Eva Maria Müller
Salome Niedecken
Burcu Özcanyüz Seymen
Anna Elisabeth Hilde Pape
Hannah Pommerening
Clara Quanz
Maite Malin Rathfelder
Anna Magdalena Risser
Vivienne Elsa Marie Roland
Elena Marie Noél Schröder
Elif Spor
Anemone Juliane Vater
Tessa Mara Vedder
Hanna Volgmann
Luisa Wenz
Miaoxuan Wu
Alto
BiancaStefania Apostol
Anna Swaantje Brandt
Luisa Marleen Bretag
Selma Rahel Campe
YuHsin Chang
Alma Katharina Cramer von Laue
Yingzi Fan
Cecilia Fischer García
Anna Gesierich
Jacqueline Gottweis
Hannah Sophie Heitkämper
Hyebeen Joo
Sonja Maria Karl
Youngji Kim
Yeonhee Lee
Zhaotong Liang
Zaya Mandakhsuren
Nilay Mert
Helene Theresia Miller
Franziska Miriam Peljak
Maria Ravvina
Hannah Schreiber
Helene Schuchardt
Vivien Elisabeth Schwarz
Carolin Xenia Spatzek
Tenor
Utku Asan
Merlin Jonathan Fischer
Philipp Habel
Marius Hipper
Lukas Kienast
Timothé Lang
Ferdinand Marquard
Valentin Michel
Manuel Mühlhahn
Byeongjun Nam
Elias Benjamin Ohly
Peter Johannes Paletta
Paulo Vinicius Pantaleao
Christoph Johannes Unger
Philipp Weitz
Simon Clemens Wolf
Bass
Konrad Johannes Borchardt
Sebastian Thomas Buß
Jonathan Friedrich Thomas Dilger
Jona Ditterich
Leonhard Vitus Eickermann
Vincent Adrian Föhlisch
Hannes Göser
Koryu Hasegawa
Emanuel Hecker
David Elischa Hermann
Mauricio Andreas Homberg
Joel Liam Hüttel
Hendrik Sebastian Klein
René Kreuter
Luis María López Aragón
Raphael David Lutz
Lucas Mallebre
Simon Martin
Jakob Theodor Mues
Felix Jonathan Ludwig Ohlemüller
Antonio Peula Ortiz
Mathis Michael Rink
Dominic Tobias Schüler
David Christian Sixt
Gia Minh Thái
Laurin Noah Zeißler
Chen Zou
HFMDK ORCHESTRA
Orchestra manager
Lewin Krella
Flute
Clara Büchi
Tzu-Chi Chao
Mirtill Mohácsi
Oboe
Raquel Alberca Iglesias
Laia Gonzàlez i Català
Clarinet
Nil Galgo
Klara Liebster
Bassoon
Rodrigo Vasques
Kyriakos Nikolaou
Amelia del Caño
Vania Alejandra Quitián Guasca
Horn
Mathis Rink
Venla Ulmala
Ximeng Huang
Patricia Gomez Mira
Trumpet
Kai Sondermann
Rieke Neumann
Anton Wesenick
Levente Hanzlik
offstage trumpets
Myriam Colliou
Jonathan Ernst
Monika Harder
Xingru Qian
Trombone
Manuel Duppel Valenzuela
Ben Fleckenstein
Jonathan Böhm
Cimbasso
Marcell Tóth
Timpani
Walt Kim
Bass drum
Patryk Szczechowski
Violin I
Suzune Masumoto (Konzertmeisterin)
Johannes Braun
Ceyda Özeser
Yungi Kaneko
Ostap Shpik
Marlene Böhm
Jiwon Ahn
Athina Rehse
Erich Wenge
Kim-Chi Stutzinger
Ermatilda Sulejmani
Woobin Park
Violin II
Michael Bell (Stimmführer)
Rui Yuan
Sanghun Han
Ziqian Yu
Ping-Huei Chien
Shuran Yu
Wenxi Yao
Le Quang Tien Tran
Rhoda Knötzele
Nadia Rihuete Turbay
Soomin Kim
Bo-Wei Wong
Viola
Pawel Drozdowski (Stimmführer)
Eike Coetzee
Johannes Knorr
Johanna Flür
Rahel Coquema
Lorenz Niemann
Xunyu Zhou
Yeh-Hsin Lin
Julian Herzing
Irmak Ülke
Cello
Leon Capar (Stimmführer)
Ernesto Fernández
Lucélia Cruz
Sophie-Charlotte Rees
Lukas Neuhof
Pablo Teijeiro Galdo
Alma Triller
Chih-Yuan Yang
Double bass
Kutay Elmalı (Stimmführer)
Daniel Felipe Correa Zuluaga
Anna Brandt
Joonyong Jung
Minsu Kim
Yeonhee Lee
