100 Years of the Rundfunkchor Berlin – Moments and Insights Into the Choir’s History

1920s: Founding Era of the Rundfunkchor Berlin

The Beginnings

The era of radio broadcasting in Berlin began in 1923. At first, radio had only 1,000 subscribers—within a year, that number had multiplied a hundredfold. By the time the Rundfunkchor Berlin was founded in 1925, there were already 200,000 listeners. The choir performed major works in concert halls and opera houses, from which performances were broadcast. Opera and operetta featured on the repertoire, and the choir also sang at the Vox-Haus in Berlin—initially in a room of only ten square metres. Under the direction of Cornelis Bronsgeest, a new format was introduced for these broadcasts: the »Sendespiel« (Radio Play). Initially, musicians were engaged for individual hours in changing line-ups, but in the spring of 1925, the decision was made to establish a dedicated in-house ensemble. From then on, twenty permanent singers formed the »Chor der Berliner Funk-Stunde« (Chorus of the Berlin Funk-Stunde). Many came from the Grosse Volksoper, which had closed earlier in the year due to the Great Depression. The first choir director, Ludwig Preiss, had previously led the Volksoper’s choir.

1926: Moving to the Great Broadcasting Hall

In order to make better use of radio as a new medium through choral music, distinctive features were sought for the programme of the Funk-Stunde. The focus was mainly on the sacred form of the oratorio. The room in the Vox-Haus previously used for rehearsals, however, soon proved too small. In 1926, the choir therefore moved within the building to the »Großer Sendesaal« (Great Broadcasting Hall), with space for 150 people. Since Ludwig Preiss’s repertoire focused primarily on secular staged works, the search began for a new leader of distinguished reputation. This resulted in the appointment of the highly decorated conductor Hugo Rüdel. Under his direction, the choir soon performed works by Palestrina, Bach and Orlando di Lasso.

1931: Opening of the Haus des Rundfunks

Move to Masurenallee

As interest in radio grew, the Vox-Haus could no longer accommodate the increasing demands. For this reason, in 1927 the Reichs-Rundfunk-Gesellschaft commissioned the architect Hans Poelzig to design a new broadcasting building, stipulating two large broadcasting halls among other requirements. For the choir, the new premises opened fresh perspectives, since the acoustics of the studio at Vox-Haus had often been criticised as inadadequate.

1933: Singing Under National Socialism

After the National Socialists came to power, everything changed for the ensemble. In April 1933, radio broadcasting was placed under the control of the Goebbels-led Reich Ministry for Public Enlightenment and Propaganda, and the choir was renamed the »Chor des Reichssenders Berlin« (Chorus of the Reichssender Berlin). Its conductor became Heinzkarl Weigl, a member of the NSDAP and later also of the SS. Weigl remained in this role until 1940, after which he moved to the Orchestra of the Reichssender. Seemingly innocuous entertainment formats such as »Deutsches Funk-Potpourri« (German Radio Potpourri), »Wir laden zum Tanz« (We Invite you to Dance), and »Großer Tanzabend« (Grand Ball) were now promoted. This was termed »Organisation des Optimismus« (Organisation of Optimism) in Goebbels’ propaganda language. However, the Reichssender also had a mission to provide »national education« – with broadcasts titled »Deutsche Erde – Deutsches Lied« (German Soil – German Song) and »Zum Tag des Deutschen Volkstums« (On German Folk Culture Day).

1940: New Chorus Director Hans-Georg Görner

In Service to the Nation

Between 1940 and 1942, Hans-Georg Görner was chorus director of the Reichssender Berlin, having previously led the Kammerchor des Deutschlandsenders (Chamber Choir of the German Radio). Görner may be described as a staunch National Socialist. In the archives of the Rundfunkchor Berlin is a document written by Görner entitled »The Tasks of Musical Broadcasting in the Great Days of the Present«, most likely from 1940/41. In it, Görner writes: »The cultivation of art is no longer an end in itself; it now serves the nation. (…) Never before in history has an entire people been allowed to sing along as their sons achieved victory on the battlefields. Only our generation is granted the privilege of sharing directly in these momentous events. (…) Thus, through the power of music, broadcasting became the shaper of a nation inflamed with happiness and triumph at heart.«

1945: Post-War Era

Crossing Berlin by Bicycle

Helmut Koch was a pivotal figure for Berlin’s radio choirs in the decades following the war. Since the early 1930s, Koch had been a key presence in Berlin’s music scene as conductor and chorus master. Immediately after the war, Berlin Radio sought to resume choral activity and asked Koch to rebuild the choir. Koch travelled across Berlin by bicycle in search of surviving members of the choir, dissolved in 1942, and recruited new singers. He later recalled: »During the day I organised programmes for dance and entertainment music, and in the evenings I took care of serious music. One by one, I visited artists by bicycle, gathered them together, and founded the professional choir ›Madrigal-Vereinigung Wilmersdorf‹. I also took on the Berliner Solistenvereinigung and began making radio recordings around May/June 1945. Eventually, the Berliner Solistenvereinigung merged with the Madrigalchor, forming a new ensemble of 24 singers. In December 1945, this group received its contract as the ›Solistenvereinigung des Berliner Rundfunks‹.«

1948: The »Großer Chor des Berliner Rundfunks« is Founded

80 Positions for a Large Choir

Long-standing chorus singer Werner Eberhardt wrote in the choir’s archive: »On 10 July 1948, the management of Berlin Radio held a meeting concerning the founding of a ›Large Radio Choir‹. SMAD (Soviet Military Administration) representative Lieutenant Trebljowa agreed that further neglect of folk songs, workers’ choir pieces and revolutionary or political songs would threaten the popularity of Berlin Radio among the masses. Administrator Mahle: Using the Solistenvereinigung for this purpose was not possible, as the association of vocal soloists was only suitable for chamber choir repertoire. A choir of between 65 and 80 members was planned, with salaries of 400–500 Reichsmarks each. However, Berlin Radio’s tense financial situation meant there was no money for the extra 80 positions. Mahle resolved to advocate for these positions and secure payment. Lieutenant Trebljowa promised support.«

1950s: GDR Ideology

Party Songs

In addition to classical choral repertoire, from the 1950s onwards »party songs« became a regular feature of the choir’s programmes. In 1950, at a celebration in the House of Soviet Culture, the ensemble performed the »Aufbaulied« (Building Song), »Lenin-Lied«  (Lenin Song), and »Ehre dem großen Stalin« (Honour to the Great Stalin). The second Day of the Cooperative in 1952 featured the »Polnisches Aktivistenlied« (Polish Activist Song) and »Wir bauen Berlin« (We Are Building Berlin). On Teachers’ Day in 1955, the choir sang pieces such as »Das Lied der Gewerkschaften« (Song of the Trade Unions), »Das Eisenbahnerlied« (The Railwayman’s Song) and »Der berühmte Traktorist« (The Famous Tractor Driver).

1952: The Haus des Rundfunks as a Soviet Enclave

State of Siege

After World War II, the Haus des Rundfunks in Masurenallee became a Soviet enclave within the British sector. Broadcasts by Berlin Radio were under Soviet control. The journalist Hans Hielscher, who recited poetry on Berlin Radio as a child, wrote later in Der Spiegel: »The final battle for the Haus des Rundfunks came at the beginning of June 1952, when English troops cordoned it off with barbed wire. Nobody was allowed in; anyone who left could not return. Over sixty employees remained and continued to work for weeks. The ›besieged‹ were hailed as heroes in the East German media and supplied by Soviet guards. During this period, GDR officials gradually replaced the broadcasts with content from the stations in Grünau and Nalepastraße, where children’s and pioneer radio now operated. By late August 1952, the Russians transported everything out of the Funkhaus that was needed in the East.«

1952: Move to the Soviet Sector

Opening of the Funkhaus Nalepastraße

In summer 1951, on the site of a former plywood factory in Nalepastraße, East Berlin, work began to convert the facilities into a radio centre. At the same time, much of the equipment at Masurenallee was dismantled. By mid-September 1952, the first studios in the new Funkhaus began broadcasting, although not all rooms were yet completed. After vacating the Haus des Rundfunks, the choir was forced to move from one rehearsal space to another, using cultural halls at factories, the Academy of Arts at Robert-Koch-Platz, and the Post Office on Oberwallstraße.

1967: Tour of Italy

Handel and Carissimi in Italy

Under strict conditions, the Berliner Solistenvereinigung and the Großer Chor des Berliner Rundfunks were permitted to embark on a tour of Italy in 1967. The journey took the ensemble to Perugia, Città di Castello, Terni, Rome, Parma and Genoa. Together with the Rundfunk-Sinfonieorchester Berlin under Helmut Koch, the choir performed Handel’s oratorios “Messiah” and “Semele” — the latter for the first time in Italy. The programme also featured “Jephte” by Giacomo Carissimi, an early Baroque work by the Italian composer.

1970s: Youth Dedications and Songs of Labour

Ingeborg Müller, then a singer with the Rundfunkchor Berlin, recalls: “In the GDR, we often performed at youth dedication ceremonies, even in small groups. Sometimes we sang for families. Above all, we performed songs celebrating labour, written by contemporary composers who also composed for our choir—Andre Asriel, Siegfried Matthus and Dietrich Erdmann.”

1974: Two Become One

The Rundfunkchor Berlin Gains Its Name

A significant union between two radio ensembles took place in 1974: the “Solistenvereinigung” and the “Großer Chor des Berliner Rundfunks” merged to become the Rundfunkchor Berlin—a name that remains to this day. This also brought the era of Helmut Koch to a close: he stepped down as chief conductor at the end of the 1973/74 season. His successor was Heinz Rögner, who at that time also led the Rundfunk-Sinfonieorchester Berlin (RSB).

1980: Sharing the Stage with Mikis Theodorakis

Enthusiasm and Gratitude

At the 10th Festival of Political Song, Mikis Theodorakis and Pablo Neruda performed together with the Rundfunkchor Berlin. Theodorakis wrote in the choir’s guestbook on 14 February 1980: “With enthusiasm and gratitude for the wonderful collaboration on Canto General.”

1984: Reopening of the Schauspielhaus am Gendarmenmarkt

A Venue for A Cappella Choral Works

On 7 October 1984, the rebuilt Schauspielhaus designed by Karl Friedrich Schinkel, which had been destroyed during the Second World War and reconstructed from the late 1970s, officially reopened its doors. Until then, the Rundfunkchor Berlin had alternated between performing at the Metropol-Theater, the Volksbühne and the Palast der Republik. Now, there was finally a concert hall whose acoustics and ambience were suitable for presenting a cappella repertoire.

1982–1993: Chief Conductor Dietrich Knothe

A Meticulous Worker

Dietrich Knothe was known for saying he would happily “tear his ears to bits on high-quality works—and perhaps the singers’ nerves too.” In fact, Knothe, who led the Rundfunkchor Berlin from 1982 to 1993, was demanding, ambitious and single-minded in his approach. He occasionally clashed with GDR cultural policy: during his time with the Rundfunkchor Leipzig, he was summarily dismissed as chorus master in October 1962, when his choir left the hall before singing the national anthem at a Republic Day ceremony. The reason? A major piece was scheduled for a few days later, and Knothe needed the rehearsal time. “Dietrich Knothe transformed the Rundfunkchor Berlin into a true precision instrument,” observes Hans-Hermann Rehberg, chorus director from 1990 to 2022. “The choir already stood for a soulful sound, but under his direction, exactitude and meticulousness were added. Knothe ensured that the choir’s learning pace more than doubled compared to his predecessors.”

November 1988: The Ladies of the Rundfunkchor in West Berlin

Harbingers of Change

Not only did a “wind of change” sweep through pop music in Berlin in 1988—it was also the moment when the Rundfunkchor Berlin began to travel regularly to the West of the republic. In November 1988, the women of the Rundfunkchor Berlin performed alongside the Berliner Philharmoniker at the Philharmonie in (West) Berlin. Gustav Holst’s “The Planets” was on the bill, conducted by Sir Colin Davis—an epochal evening and the prelude to a tour to Salzburg in 1989. Catherine Hense, singer with the Rundfunkchor Berlin since 1988, said:
“I still remember how, as a student at the Hanns Eisler Academy of Music in the 1980s, I used to look out of the window—back then, the campus was still in Wilhelmstraße. We could see the Philharmonie, and between us lay the wall. I always thought: one day, I want to sing in that house. That wish came true in 1988. I was a bit overwhelmed by the bustle of the West, but performing at the Philharmonie was a dream.”

1989: The 9th of November

The Fall of the Wall

Werner Eberhardt, long-time member and archivist of the Rundfunkchor Berlin, recalls the day the Berlin Wall fell:
“The women had the day off on 9 November 1989, while the men were at the Funkhaus in the evening recording Strauss’s ‘Tageszeiten’ under Alfred Walter. On television, there was an important press conference with Schabowski, and as our colleagues made their way to the Funkhaus, the announcement came that the Wall had been opened. The emotional spectrum ranged from disbelief to joy and doubt. The next morning, everyone looked exhausted—almost everyone had been out all night with family in West Berlin, or elsewhere, or at least glued to the television, following these seismic developments.”

1989: “The Berlin Celebration Concerts” with Leonard Bernstein

Hope, Unity, and Tolerance

In 1989, Leonard Bernstein came to the newly reunified city to conduct Beethoven’s “Ode to Joy” with the Rundfunkchor Berlin, other choirs and an international orchestra—first in East Berlin, then in West Berlin. Bernstein famously retitled Schiller’s lyrics from “Freude” (“Joy”) to “Freiheit” (“Freedom”). Margarete Bares, singer with the Rundfunkchor Berlin from 1966 to 2003, recalls:
“Beethoven’s Ninth Symphony had always had special significance in my life as a singer—I checked, and I sang it around 170 times! I felt honoured to perform the Ninth as one of 25 singers from the Rundfunkchor Berlin in that historic moment. Bernstein, a conductor of immense charisma, was a dream choice for these concerts. Schiller’s words reflected the mood after the fall of the Wall—hope, universality and a spirit of tolerance. There was incredible tension within the choir; we were highly motivated. Then Bernstein changed the text from ‘Joy’ to ‘Freedom’—a liberty you grant the conductor in such circumstances. The audience quickly understood the message and rewarded Bernstein with rapturous applause. History was made.”

1989: The Reunification Concerts with Leonard Bernstein

Greetings from Unity

Rita Süssmuth, then President of the German Bundestag, visited one of the two Bernstein celebration concerts marking the fall of the Wall. On 24 December 1989, she wrote in the choir’s guestbook:
“All people will become brothers … Freedom, beautiful spark of the gods … What unites us can never again be divided. Sharing and understanding music together—led by L. Bernstein with the Rundfunkchor Ost-Berlin and many Europeans—an unforgettable evening … Thank you!”

October 1990: Benefit Concert with the Berliner Philharmoniker

The Unquestionable Best of the Reunited City

A holiday for the Rundfunkchor Berlin, now fully at home in reunified Berlin: at the end of October 1990, the choir joined the Berliner Philharmoniker for a benefit concert under Daniel Barenboim. Beethoven’s “Missa solemnis” was the sole work on the programme. Critic Klaus Geitel wrote in the Berliner Morgenpost on 1 November 1990:
“The unquestionable best of the reunited city have come together on stage. And it is the choir who provides the unforgettable moments that evening. Singing with the utmost clarity and tireless energy, they deliver the challenging choral blocks with majestic force and brilliance.”

1990: Presidential Benefit Concerts with the Berliner Philharmoniker

‘I Know No Better Choir’

The then Federal President Richard von Weizsäcker wrote in the choir’s guestbook after two benefit concerts on 30 and 31 October 1990:
“Gratefully indebted for two unforgettable evenings of the Missa solemnis. I know no better choir.”

1990–2022: From Singer to Chorus Director

The Rehberg Era

Hans-Hermann Rehberg, chorus director from 1990 to 2022, looks back on an era full of innovation and artistic highlights. The choir was awarded three Grammy prizes, realised performances of all Wagner operas, and pioneered interdisciplinary concert formats. He is especially proud of the “Broadening the Scope of Choral Music” initiative, which opened up new avenues for choral performance. The choir set trailblazing accents with projects such as Holst’s “Savitri” at Berghain. Rehberg considers Richard Strauss’s “Der Abend” as a summit of a cappella literature and looks back fondly on the moment the rehearsal ends, the audience fills the hall, and the choir’s sound brings the magic alive: “With Beethoven’s Missa solemnis, Henze’s Ninth Symphony and Brahms’s German Requiem, the Rundfunkchor Berlin is rivalled by none!”

1990: Beethoven’s Symphony No. 9

Ringing in the New Year with the Ninth

For decades, Beethoven’s Symphony No. 9 has been an essential tradition of the Rundfunkchor Berlin. To celebrate the turn of the year, it is always performed together with the Rundfunk-Sinfonieorchester Berlin. Yet, this work has sounded on many momentous occasions—not only at New Year’s Eve. The chorus has sung Schiller’s verses to Beethoven’s music at numerous moments of historic significance, including the official concert on the eve of German reunification on 2 October 1990.

1994: Founding of the Rundfunk Orchester und Chöre gGmbH Berlin (ROC)

The Spirit of the “Wende Days”

On 1 January 1994, the Rundfunk Orchester und Chöre gGmbH was founded, ending the uncertainty that followed German reunification for Berlin’s radio ensembles. “The fall of the Wall, reunification and, finally, the incorporation into the ROC—three liberating blows for the Rundfunkchor Berlin and the Rundfunk-Sinfonieorchester Berlin (RSB). Due to their special status, they escaped being wound up. While there was initial rivalry between the RSB and the Deutsches Symphonie-Orchester Berlin, also newly merged into the ROC, the choirs were spared this. The RIAS Kammerchor and the Rundfunkchor Berlin had distinct artistic profiles. The fall of the Wall and the ensuing organisational changes had an enormous psychological effect: the choir from East Berlin could now flourish. Its existence was secure; the unified city, the western part of Germany, and indeed the whole world were now open to it. The audience felt this new enthusiasm too. With their chorus director Hans-Hermann Rehberg, who had already managed the transition into the ROC, the singers developed new programmes, embarked on tours, and celebrated achievements they could previously only have dreamed of. Even today, I sense the “spirit of the Wende days” at concerts and in conversations with members of the choir—moments that led them to fresh successes. They could now fully enjoy their freedom, as citizens and as artists.” (Ernst Elitz, Chair of the Board of Trustees, ROC gGmbH, and Director of Deutschlandradio 1994–2009)

1994–2001: The Robin Gritton Era

The Test

From 1994 to 2001, British conductor Robin Gritton led the Rundfunkchor Berlin. Gritton reflects on his first meeting with the ensemble: “I first came into contact with the Rundfunkchor Berlin in the early 1990s. I was invited to visit, curious as I entered the studio at Nalepastraße. I remember being given a rather charming, simple, three-verse arrangement of a German folk song, a piece I’d never seen before, and was asked to rehearse it straight away. Only later did I learn it was a test. To this day, nobody has told me why this trap was set, but I quickly felt I had to do my utmost to find an interpretation that inspired the choir to beautiful singing. I must have passed, as soon after I was asked to become chief conductor. It took me some time to consider, but a year later I took up the post. Long live the Rundfunkchor Berlin!”

1998: Australia and New Zealand Tour

“We Were Welcomed with a Maori Ceremony”

Jörg Schneider, a member of the Rundfunkchor Berlin since 1989, recalls:
“I was immediately fascinated by the various Asian cultures during our stopover in Singapore. In Australia, we were invited to the Adelaide Festival and performed Rachmaninov’s Vespers with Robin Gritton—always a wonderful work! When we reached New Zealand, we were greeted in Wellington with a Maori ceremony. The reception in the garden of the historic Government House was also impressive—a jazz band played, the governor himself took care of our well-being, and many Maori attended. We gave four concerts in Wellington, of which two were with a New Zealand choir, performing Schoenberg’s ‘Gurre-Lieder’.”

2001: Schoenberg’s “Gurre-Lieder” with the Berliner Philharmoniker and Sir Simon Rattle at the Philharmonie

Raising the Roof of the Philharmonie

On this occasion, Eleonore Büning wrote in the FAZ (20 September 2001): “The three four-part male choirs and the eight-part mixed choir more than matched the orchestral forces. Their final ‘sun hymn’ seemed almost to raise the roof of the Philharmonie.”

2001–2015: The Simon Halsey Era

‘Collective passion, inspiration and energy’

Simon Halsey’s tenure as chief conductor and artistic director of the Rundfunkchor Berlin from 2001 to 2015 marked a high point in the choir’s history. Under his direction, ground-breaking projects were launched, inspired by an outstanding ensemble. The choir distinguished itself through collective passion, discipline and a remarkable energy manifesting in musical excellence. With support from chorus director Hans-Hermann Rehberg, the choir’s sound was refined and numerous education initiatives were set in motion. This period was a zenith for the choir, setting the foundation for future successes. “A deep sense of shared musical striving— it’s a gift one never forgets,” said Halsey.

2002–2015: Simon & Simon

A Symbiosis

Between 2002 and 2015, Sir Simon Rattle (chief conductor of the Berliner Philharmoniker) and Simon Halsey (chorus director of the Rundfunkchor Berlin) formed a legendary “dream team” for Berlin’s classical scene. Their partnership birthed landmark musical projects, broke boundaries, and set new benchmarks. Intense collaborations with director Peter Sellars, especially on Bach’s works, led to an artistic development that challenged all involved. Rattle described the choir under Halsey as a collective without limits, capable of rare symbiosis through trust and generosity. “Rundfunkchor Berlin and Simon Halsey—those words already sound like adventure,” noted Sir Simon Rattle.

Since 2005: Broadening the Scope of Choral Music

“Simon was on fire right away”

Hans-Hermann Rehberg recalls the origins of the “Broadening the Scope of Choral Music” series:
“It was about opening up a larger audience for a cappella music. Together with Simon Halsey, I considered what new concert formats could bring choral music to the world in fresh ways. Concerts where people applaud after every number—I always found that unbearable. One day, standing in the stripped-out Palast der Republik, I suddenly ‘heard’ music from Schtschedrin’s Der versiegelte Engel echoing through my mind! I didn’t have to persuade Simon for long to plan a project for this space—Simon was on fire right away.” The project’s name comes from Halsey, describing the long-term mission to open up new performance spaces for the Rundfunkchor Berlin—physically and musically. Ultimately, the planned performance in the Palast der Republik did not occur.

Since 2003: Sing-Along Concerts

A Festival for Choral Fans

Few concerts in the Berlin Philharmonie’s grand hall sell out as quickly as the annual Sing-Along Concert of the Rundfunkchor Berlin, an eagerly anticipated event for countless amateur singers. Initiated by Simon Halsey, the format debuted in 2003 on a more modest scale. Since 2005, 1,300 singing enthusiasts gather each year to perform a major work from the oratorio repertoire together with the Rundfunkchor Berlin and the Rundfunk-Sinfonieorchester Berlin. A true celebration for choral fans of every kind!

2005: Rodion Shchedrin, “The Sealed Angel”

Dark, Warm, Pure

Rodion Shchedrin’s choral work “The Sealed Angel” was performed in May 2005 as the first project in the “Broadening the Scope of Choral Music” series, conducted by Stefan Parkman. The composer himself attended as his vocal liturgy, rooted in ancient Russian modes and spirituality, was performed with only a flute as accompaniment and complemented visually by dance theatre. The production marked the beginning of a long partnership with choreographer Lars Scheibner. “The Rundfunkchor Berlin sounds dark, warm, pure and convincingly Russian—even in the lowest male voices,” the choir was praised at the time by klassik.com.

Since 2006: Liederbörse – Sing-Along Concert for Schoolchildren

A Matter of the Heart

In April 2024, long-time choral director Maike Bühle conducted two Liederbörse concerts. She said of the project: “It’s truly close to my heart to inspire young people to sing together and to immerse them in the fantastic world of choral music in all its remarkable diversity. To work as the conductor of the Liederbörse is pure fulfilment for me!”

2007: Igor Stravinsky, “Symphony of Psalms” with the Berliner Philharmoniker

Grammy Joy

Christine Lemke-Matwey wrote in the Tagesspiegel: “Berlin in Grammy bliss: For the second time since 2008, the Rundfunkchor Berlin with chief Simon Halsey and the Berliner Philharmoniker under Sir Simon Rattle together win the coveted trophy for ‘Best Choral Recording’. With Stravinsky’s ‘Symphony of Psalms’, they triumphed in Los Angeles over the London Symphony Orchestra and its choir. The Stravinsky CD (EMI) is based on three live concerts at the Berlin Philharmonie in late September 2007 and also includes his Symphony in C and the Symphony in Three Movements.”

2007: “The Veil of the Temple – Journey to the End of the Night”

A Night at the Museum

Stamina, perseverance and sharpened senses were required in May 2007 from some 800 attendees at Hamburger Bahnhof in Berlin. The performance of John Tavener’s “The Veil of the Temple”, staged by Dutch director Rogier Hardeman, ran through the night from 10 p.m. until 6 a.m. Five choirs took part; texts from all world religions resonated through the museum, as the work asks what role religious tradition plays in the search for transcendence. A waking dream!

2009: Mozart, “Idomeneo”, Festival d’Aix-en-Provence

“They Pushed Us to Peak Performance”

Catherine Hense, a member of the Rundfunkchor Berlin since 1988, recalls: “‘Idomeneo’ was staged in the courtyard of a very old building with four sides, and the corridors around were integrated into the performance. ‘Idomeneo’ is Mozart’s most choral opera; I found the set design impressive, with three mobile iron structures moved around throughout. Alongside the soloists and us, there were outstanding dancers. Unlike the elegant, white evening dress of the elite society in ‘Götterdämmerung’, in ‘Idomeneo’ we were the common folk, in black clothing with faces painted white. The work with the directors and two superb conductors, Sir Simon Rattle and Marc Minkowski, pushed us to achieve our very best.”

2010: Gustav Holst, “Sāvitri” at Berghain

Dark, Gritty, Alluring

In 2010, the Rundfunkchor Berlin made a guest appearance at the techno mecca Berghain. Lars Scheibner directed Holst’s chamber opera “Sāvitri”. Long-time member Isabelle Voßkühler remembers: “I recall it was very dark and very gritty. Seeing Berghain from the inside was interesting—you don’t usually get in. I find it intriguing to bring classical music into unusual venues, though I’m not really a club type, so it took getting used to. I particularly remember singing our parts on a spiral staircase. And the production featured fantastic contortionists—they twisted and bent in extraordinary ways. All in all, an exciting experience.”

2010: Bach’s “St Matthew Passion” with the Berliner Philharmoniker

Unique, Moving, Profound

Jörg Schneider, a member since 1989, reflects on special career moments: “Among my most precious experiences are the semi-staged performances of Bach’s ‘St Matthew Passion’, given in 2010 by Sir Simon Rattle and director Peter Sellars with the Berliner Philharmoniker and the Rundfunkchor Berlin. Sellars described the production pointedly: ‘It’s not theatre, it’s a prayer, a meditation.’ This kind of performance demanded and enriched everyone artistically and emotionally. Some years later—in 2014—we took this production to London, Lucerne and New York. Those performances deeply strengthened the sense of community in the choir and our relationship with the Philharmoniker. The effect is still felt today.”

Since 2011: SING! – Choral School Project

A Choral School

The SING! educational programme, launched in 2011, focuses on Berlin’s primary schools. For three-year cycles, the Rundfunkchor Berlin sends choral directors to participating schools (averaging seven at a time), who sing weekly with children and provide musical training for teachers. The project’s aim is for regular singing to become an integral part of lessons even after it finishes, by qualifying non-music teachers. Mentors from the Rundfunkchor Berlin support SING! with frequent school visits. The highlight is the annual Liederbörse concert in the Philharmonie, at which the schoolchildren perform together with the Rundfunkchor Berlin.

2011: Works by Antonio Lotti, Thomas Tallis, and Gustav Mahler with the Berliner Philharmoniker under Sir Simon Rattle

A Family

From Sir Simon Rattle’s guestbook entry, 18 September 2011:
“Dear beloved Rundfunkchor! After Lotti, Tallis, Mahler—what to say really? Just that you manage the impossible by constantly developing. And that every time, we feel closer together— it is, with you, one of the most treasured musical relationships in my life. I feel privileged and happy that we are a family! With gratitude, love and deep respect, Simon Rattle.”

Since 2012: “human requiem”

Bringing the Work Close to the People

The “human requiem” has become a genuine classic for the Rundfunkchor Berlin; the piece, created by director Jochen Sandig and a team from Sasha Waltz & Guests, has been performed worldwide for years. Reflects Sandig: “My personal journey with this exceptional choir began in 2012 with the world premiere of ‘human requiem’ at Radialsystem, and it continues to this day. Back in 2006, together with Sasha Waltz, Folkert Uhde and other partners, I founded the venue at the Spree as a home for extraordinary projects in Berlin—a ‘new space for the arts’. Six years later, I wanted to fulfill a long-held wish: to realise Brahms’s ‘German Requiem’ as an expansive, scenic ritual. This project had to be born in Berlin. The concept matured over a long time. I always longed to bring this work especially close to people. Brahms called it his ‘human requiem’, so the title was clear. I am grateful to Sasha Waltz for encouraging me to direct, and to the Rundfunkchor Berlin for their trust. None of us could foresee what would come of it, and there were plenty of doubts. Together with Sasha Waltz & Guests, we embarked on the project—and something miraculous happened: the choir transformed us. It’s a transformation that constantly renews itself. The production has been on world tour, celebrated across Europe, Asia, America and Australia—the New York Times even called it the ‘anthem of our time’.”

Since 2015: The Gijs Leenaars Era

“Round and Dark”

Since 2015, Gijs Leenaars has taken the helm of the Rundfunkchor Berlin, leading its sound into a new dimension. With his approach of placing the body and breath at the core of singing, he has shaped the choir into a harmonious balance of depth and transparency. His highlights include emotionally charged projects such as the Christmas concert focused on Ukraine and the experimental staging of “human requiem”. Leenaars continually succeeds in combining the choir’s unique timbre with musical precision and innovative ideas.
“One must be able to sing beautifully round and dark, and yet still hit the top notes.” (Gijs Leenaars)

2015: “Liberté” at Funkhaus Nalepastraße

Concert Marathon

For its 90th anniversary in 2015, the Rundfunkchor Berlin revisited its roots, returning to its former longstanding home in Berlin-Oberschöneweide for a grand celebration. Over the course of an afternoon and evening, the venerable halls of the Funkhaus Nalepastraße were filled with a marathon of concerts, taking audiences on a musical journey through the great building on the River Spree. The choir performed vocal music of the twentieth century in a variety of formations. The US organist Cameron Carpenter was featured as a star guest, arriving with his own instrument.

Since 2016: RundfunkchorLounge

Conversation and Song

Whether themed “The Art of Being Alone,” “Apocalypse” as the guiding idea for an evening, or asking provocatively “Cheers?” in a programme devoted to alcohol, the RundfunkchorLounge has grown from a chamber music series into a fixture in Berlin’s musical life since its start in 2016—featuring thought-provoking guests and surprising music. After several years at silent green, the series moved in 2022 from Wedding to Heimathafen Neukölln. The host is now Neukölln native Boussa Thiam.

September 2017: Pierre Boulez Saal, “LUTHER – DANCING WITH THE GODS”

Persevering Through All Doubt

In 2017, the year of Luther, the Rundfunkchor Berlin created “LUTHER – DANCING WITH THE GODS”, a unique production blending classical music, abstract forms and modern theatrical artistry. Under the direction of Robert Wilson, the choir collaborated with renowned actors such as Jürgen Holtz and Lydia Koniordou. The production brought together Luther’s table talk, Protestant chorales, Bach’s motets and works by Steve Reich—a profound experience in the architecturally spectacular Pierre Boulez Saal. Wilson lauded the choir for its openness and extraordinary grasp of abstract forms.
“Perhaps ‘LUTHER’ was a theatrical reflection on what moves someone to believe in a bold new idea for change even in the face of all doubt.” (Director Robert Wilson)

Since 2022: Rachel-Sophia Dries Appointed Chorus Director

“You Are All Welcome—Regardless of Experience, Income or Background”

Since 2022, under the leadership of Rachel-Sophia Dries, the Rundfunkchor Berlin has set new priorities to break down barriers in classical music. Community projects, sing-along concerts and collaborations with other art forms have opened the choir to a wider audience. A particular focus for the new director is fostering a sense of belonging and making the classical scene more diverse and participatory. Initiatives such as a competition for groundbreaking concert formats are driving the development of innovative approaches to animate more people for choral music.
“You are all welcome—regardless of experience, income or background.” (Rachel-Sophia Dries)

2022: Solidarity Concert for Ukraine

“The Most Important Signal Was Solidarity”

On 15 March 2022, the Rundfunkchor Berlin, together with the Deutsches Symphonie-Orchester Berlin, gave a solidarity concert for Ukraine, which had recently been invaded by Russia. Hosted by Germany’s Minister of State for Culture and the Media, Claudia Roth: “The most important signal was deep solidarity with the people of Ukraine. We made it clear that those in Ukraine and Ukrainian refugees in Germany are not alone: they are part of a European community of values built on freedom and democracy.”
Already on 5 March 2022, just nine days after the outbreak of war, the Rundfunkchor Berlin demonstrated its solidarity in an action outside the Russian embassy in Berlin, gathering in front of the building on Unter den Linden to sing a Ukrainian folk song and the Ukrainian national anthem.

2023: Verdi, “Messa da Requiem”

A Special Experience

Giuseppe Verdi’s Requiem has been a regular feature of the Rundfunkchor Berlin’s repertoire for decades, but each performance remains unique. In 2023, a particularly special experience for both choir and audience arose from a collaboration with Christian Spuck, the incoming director of Staatsballett Berlin, who staged a choreographed version of Verdi’s Requiem with the chorus.

2025: 100 Years of the Rundfunkchor

Where History Meets the Future

Both retrospection and outlook, tradition and modernity—these are the poles between which the present is stretched, as highlighted in the four jubilee concerts of the 2024/25 season.
A jubilee is also a moment to take stock: what has been achieved, where do we want to go? Believing that music belongs to everyone, in 2024 the Rundfunkchor Berlin launched a competition to generate new concert formats and promote greater accessibility in society.
The shared passion for choral music unites us. Now, with pride, we look back on a century of music! We don’t know your situation—but we do know that the times are challenging. Still, we look forward with anticipation to many moments and stories yet to come, which we will experience and shape together.