Organization

Conductor

Christoph Eschenbach

Soprano

Sophie Klußmann

Baritone

Michael Nagy

Others

Camerata Bach Chor

Kammerkoret Hymnia

Copenhagen Phil

Brahm's requiem

Brahm's requiem: Concert

Public

Concert

Approved

Bass

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

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Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Countertenor

Singer

Mezzo-soprano

Bass-baritone

Tenor

Contralto

Spoken

Child vocalist

Silent

Alto

Continuo

Copenhagen Phil's honorary guest conductor, Maestro Christoph Eschenbach, takes the orchestra, a number of Danish choirs and two excellent German soloists on a journey into the soul's longing for solace in moving works for choir and orchestra by Brahms and Schönberg.

“I don't remember everything. I must have been unconscious most of the time .” This is how Arnold Schönberg's poignant tribute to the victims of the Holocaust begins - about the survivor from the Warsaw ghetto who experiences the Nazis' inhumane treatment on his own body. A shocking and eternally current account of one of history's great tragedies.

Brahms' infinitely beautiful and poignant Death Mass is unlike any other in the genre. Usually a requiem is in Latin, but Brahms chose a different path than his colleagues. He may have written his death mass to process the grief over the loss of both his mother and his friend Robert Schumann. And he chose to use his own language instead of the usual Catholic reqiuem text in Latin. He also chose that the Mass should not focus on divine justice in heaven, but on hope and comfort for those left behind here on earth.

English

Copenhagen Phils æres-gæstedirigent, Maestro Christoph Eschenbach, drager sammen med orkestret, en række danske kor og to fremragende tyske solister på en rejse ind i sjælens længsel efter trøst i gribende værker for kor og orkester af Brahms og Schönberg.

“Jeg husker ikke alt. Jeg må have været bevidstløs det meste af tiden.” Sådan begynder Arnold Schönbergs gribende hyldest til ofrene for Holocaust – om den overlevende fra ghettoen i Warszawa, der oplever nazisternes umenneskelige behandling på sin egen krop. En rystende og evig aktuel beretning om en af historiens store tragedier.

Brahms’ uendeligt smukke og gribende dødsmesse ligner ikke nogen andre i genren. Normalt er et requiem på latin, men Brahms valgte en anden vej end sine kolleger. Han skrev muligvis sin døsmesse for at bearbejde sorgen over tabet af både sin mor og af sin ven Robert Schumann. Og han valgte at bruge sit eget sprog i stedet for den sædvanlige katolske reqiuem-tekst på latin. Han valgte også, at messen ikke skulle fokusere på den guddommelige retfærdighed i himmelen, men på håb og trøst for de efterladte her på jorden.

dansk

Brahm's requiem by Various, -tól (2022/2022), Karmester Christoph Eschenbach

Előadás kreditek (Szereplők & Stáb )

Öntvény

Együttes

Program, névjegy és szinopszis

Életrajz

További irodalom

Az előadások időpontjai és helyszínei

Helyszínek