The annual music festival began with a performance at the Basilica of Monastery Eberbach. While public funding accounts for a small fraction (0.3 percent) of the festival’s eight million euro budget, the support from the State of Hesse carries symbolic importance. Former prime ministers, including Hans Eichel, roland Koch, and Volker Bouffier, have all expressed pride in this “citizens’ initiative.” The festival, which started modestly in 1987 under founding director Michael Herrmann, has evolved into a major European event, sustained by sponsorship and ticket sales.

Prime Minister Boris Rhein attended the opening concert,expressing enthusiasm for a new arrangement of the “Hessenlied” performed by the HR symphony orchestra and the MDR choir. He remarked, “you could actually hear that now.” However, some attendees were unfamiliar with the song “I know a country, so rich and lovely,” suggesting that the Rodgau Monotones’ hit “The Hesse comes” might be a more recognizable state anthem.

Conducted by Alain Altinoglu, the performance created a fitting atmosphere for the occasion. The program included a diverse selection of pieces, beginning with “Une Barque Sur L’Océan” from Maurice Ravel’s “Miroirs” cycle, honoring the composer’s 150th birthday.

Virtuoso Performances and Reverberating Sounds

“You could actually hear that now.”

The HR Symphony Orchestra, familiar with the acoustics of the basilica of Monastery Eberbach, delivered a nuanced performance. The orchestra recently presented the premiere of Thierry Escaich’s “Te Deum Pour pour Pour notre-Dame” in the Cathedral on the Parisian city island.

Violinist Diana Adamyan, born in Jerewan in 2000, performed with confidence. Her rendition of Pablo de Sarasate‘s “gypsy tunes” was lively and expressive. She concluded with a rendition of Francisco Tárrega’s “recuerdos de la Alhambra.”

A Sacred Setting for Classical Music

The HR Symphony Orchestra also performed Charles Gounod’s “Messe solennelle en l’honneur de Sainte-Cécile.” The basilica’s radiant Romanesque architecture enhanced the performance. The MDR choir contributed to the soft, sensitive sections. The inclusion of an octobass added a unique dimension to the Benedictus. Soprano Anett Fritsch,tenor Bogdan Volkov,and bass Alexandre Duhamel also featured.

The “Cäcilienmesse” was repeated at the Wiesbaden Kurhaus on the second opening evening. The acoustics provided clarity, but lacked the power of the basilica. Pianist Beatrice Rana performed Piano concert G major, adding to the initial ravel.