A Word With Adrian Emans

The 2025 Sing-Along Concert is just around the corner! This year’s spectacular event features Johannes Brahms’ deeply moving Requiem, performed by around 1,300 singers alongside the Rundfunkchor Berlin. As part of the choir’s 100th anniversary celebrations, three guest choirs have been invited to share the stage with the Rundfunkchor for the very first time — a special highlight, and a challenge in equal measure. Why? Because Brahms’ Requiem is not part of the core repertoire for any of the invited ensembles. In fact, stylistically, they are venturing into entirely new musical territory. Berlin-based choir director Adrian Emans, who has previously collaborated with school groups and the Rundfunkchor’s Friends Association on the Song Exchange and last year’s Sing-Along Concert, is responsible for preparing the guest choirs for this ambitious undertaking. Curious about the challenges, what makes this work so fulfilling for him, and how he inspires people to fall in love with classical choral music? Find out more here!

What are the challenges of rehearsing Brahms’ Requiem with amateur singers — and how do you prepare?

Brahms’ Requiem is a rich, multifaceted work — a collage of texts offering comfort in all its shades: from hopeful and joyful to deeply intimate and sorrowful. The emotional spectrum is broad, and that alone makes it both special and challenging. Brahms expresses this diversity through complex musical writing, which can be particularly demanding for amateur singers. There are fast tempos, but also very slow, exposed passages with little or no orchestral support. The soprano and tenor lines often sit high in the voice, which is technically difficult — especially if sung gently, as Brahms intended.

My preparation always begins with getting to know the piece and its context as thoroughly as possible, so I can offer the singers a vivid, emotional understanding during rehearsals. A detailed text analysis is crucial in choral work. I also go through each vocal line closely, mark breathing, phrasing, pronunciation, and write down emotional associations for each section. When designing the rehearsal process, I consider the structure of the piece: which parts will be most challenging, where singers will find their footing easily, how best to build confidence. And of course, I also incorporate Simon Halsey’s interpretive ideas, since he will be conducting the concert. Above all, it’s important to remember: perfection isn’t the goal here — it’s about joy, connection, and the shared experience of music.

As part of the choir’s anniversary, guest choirs are joining the Sing-Along Concert for the first time. What’s special about that?

I think it’s fantastic. We’re bringing together choirs who usually wouldn’t sing this kind of repertoire — and integrating them into a major concert without pressure to perform, but rather through a shared musical experience. It’s not about delivering a historically informed interpretation of Brahms, but about emotional connection and inclusion. That said, this is still a large-scale performance, and there’s no hiding on stage. Rehearsal time is limited, so we’ve simplified or shortened a few passages to make it manageable — and enjoyable.

Who are the guest choirs?

We’re working with the Berlin Ensemble for Classical Turkish Music, one of Germany’s largest Turkish choirs. Their singers don’t usually work in polyphony, so they’ll all sing the alto part in unison. Then there’s the Begegnungschor, an intercultural choir that brings together people from diverse backgrounds to sing songs from around the world. Everyone is welcome — the point is to share a love of music. The third is zimmmt, a brilliant Berlin-based jazz-pop choir I’ve known for years. They often perform without a conductor and are regulars at major choral competitions. Brahms is well outside their usual repertoire, too — which makes it even more exciting.

How did the first rehearsal go?

There was great energy and focus — but of course, it takes time for everyone to find a shared sound. It’s hard work, but incredibly rewarding. After rehearsal, a singer from the Begegnungschor told me she never thought she’d enjoy classical choral music — but that this experience had changed her perspective. Now she listens to Brahms on the U-Bahn and hums his melodies. Several members of the Turkish ensemble also said the music had touched something deep in them that would stay with them. That’s exactly why we do this.

What can the audience expect from the Sing-Along Concert?

A mass of people united by a shared musical purpose! It’s an electrifying atmosphere in an iconic space, and »Ein deutsches Requiem« is such a powerful work. The combination of professional and amateur voices makes this a unique experience — one we should see more often. Everyone gains from it: the pros and the newcomers alike. So: moving music, powerful energy, and a beautiful sense of community!

Any advice for someone unsure whether they should join a concert like this?

Go for it! Sign up, give it a try — it’s so worth it. If you know someone who’s done it before, ask them to support you. And if you’re unfamiliar with the piece, there are countless online resources to help you prepare — from background info to part tracks. And if you still feel hesitant: just come and listen!

The Sing-Along Concert takes place on Sunday, 6 July 2025 at 3:30 PM in the Great Hall of the Berlin Philharmonie.

Adrian Emans is a choral director and conductor. He is founder and musical director of Neuer Kammerchor Berlin, Charité Chor Berlin, and Neuer Männerchor Berlin. His ensembles have won multiple national and international awards, and he has been recognized with special prizes for conducting. He also serves as Chair of the Music Committee of the Berlin Choral Association.