Our Sing Along Concerts in Vienna offer individual singers and choirs the opportunity to perform an important work of choral music in Vienna’s St. Stephen’s Cathedral in a professionally organized concert. For 18 years, individual amateur singers and choirs from all over the world come to Austria to be part of this unique Sing Along experience.
Under the direction of a renowned choirmaster you will be studying the relevant piece for several days in rehearsals during the Sing Along! Choir Festival. As part of the Sing Along! Festival Choir newly formed for each piece, you will then perform the work together with your fellow international singers, the Cathedral Orchestra and renowned soloists in a festive final concert in front of a broad audience in Vienna's St. Stephen’s Cathedral.
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Artistic Director of the Sing Alongs in Vienna

Artistic Director of Sing Alongs
Sing Along! Gallery
A. Bruckner, Mass in D-minor
4 to 6 July 2024 | St. Stephen's Cathedral, Vienna
Perform Bruckner's Mass in D Minor as a sing-along concert in Vienna's St. Stephen's Cathedral on the 200th anniversary of his birth. Bruckner's 1st Mass is often described as his first true masterpiece and key work, which made him one of those few composers who further developed the symphony after Beethoven and Schubert and decisively shaped the music-making of the 20th century.
The additional piece to be sung will be announced later!
At the 40th Sing along! Choir festival, you will work on the work in workshops lasting several days under the direction of Prof. Gerald Wirth, artistic director of the Vienna Boys' Choir, and then perform it together with the Vienna Cathedral Orchestra and renowned soloists as a festive final concert in Vienna's St. Stephen's Cathedral.
Repertoire and Composers
Repertoire
Mass in D-minor (WAB 26) - A. Bruckner
Bruckner's first mass composition was actually to be performed for the emperor's birthday on 18 August 1864 - but it was finished too late. It was then premiered on 20 November in the Old Cathedral in Linz and, due to its great success, a performance followed on 18 December in a secular venue: In the Linz Redoutensaal. As there was no organ in this concert hall, Bruckner had to transfer an organ solo to two clarinets and two bassoons.
Bruckner is not a romantic - he merely makes full use of the musical means (harmonisation and instrumentation) and thus fulfils the "romantic requirement". For unlike the other composers of his time, he composed from the deepest faith. Eduard Liszt once said of Bruckner that he was a "minstrel of the Godhead", for his works were professions of faith which even led to his dedicating his last symphony "to the dear God" as an old man - with the additional remark "if He will accept it".
After the successful premiere, he received great praise from all sides. The Wiener Zeitung spoke highly of his Mass and his contemporaries henceforth respected him as a composer of exceptional standing. Even the bishop later explained to Bruckner that he had not been able to preach during the mass because the work had interested and gripped him so much. The most valuable gift for Bruckner, however, was probably that of the government official Mayfeld, an extremely highly educated man and a great lover of music: he honoured Bruckner with a laurel wreath, the ribbon of which bore the inscription: "From the Godhead once proceeded, art must lead to the Godhead again" - this wreath subsequently hung over Bruckner's bed until his death.
In the summer of 1876, after a successful recovery from a nervous illness, Bruckner made rhythmic improvements to his three masses (D minor, E minor, F minor). This resulted in the final version, to which only minor corrections were made later. The work appeared in print for the first time in 1892. This version remains valid to this day.
Composers
Anton Bruckner (1824-1896)
Anton Bruckner did not have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and self-taught organ and piano studies, he first worked as organist in Sankt Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and visited several times in Bayreuth.
In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory, ten years later court organist, and finally in 1891 honorary doctor of the University of Vienna. He was considered an important organ virtuoso of an era, but had to wait a long time for recognition as a composer. It was not until the "Symphony No.7, E major", composed between 1881 and 1883, with the famous "Adagio" written under the impression of Wagner's death, that the hoped-for recognition came, even if he did not want to accept it in view of his tendency to scepticism and self-criticism.
Anton Bruckner was a loner who did not want to follow any school or doctrine. He composed numerous sacred vocal works such as his three masses, the "Missa Solemnis in B flat minor" (1854), the "Te Deum" (1881-84) and numerous motets. As a symphonist, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise finished versions several times. Bruckner's orchestral works were long considered unplayable, but were merely unusually bold for the tonal language of their time, uniting traditions from Beethoven to Wagner to folk music, sound monuments on the border of late Romanticism and modernism.
The additional piece to be sung will be announced later!
Schedule
Thursday, 4 July 2024
Afternoon: rehearsal no. 1
Evening: welcome-reception in the roof atrium of St. Stephen’s
Friday, 5 July 2024
Morning: rehearsal no. 2
Afternoon: rehearsal no. 3
Saturday, 6 July 2024
Morning: dress rehearsal with the Vienna Cathedral Orchestra
Evening: festive concert at St. Stephen's Cathedral
Followed by: concert-reception
Concert in St. Stephen's Cathedral
The festive finale of the 40th Sing Along! Choir Festival is the performance of Bruckner’s Mass in D-minor in St. Stephen's Cathedral in front of a grand audience. In this way, you continue the tradition of music in the cathedral and follow in the footsteps of great composers. It was in St. Stephen's Cathedral that Joseph and his brother Michael Haydn received extensive musical training as choirboys. Joseph Haydn married here, as did Johann Strauss and Wolfgang Amadeus Mozart.
For Mozart, St. Stephen's Cathedral played an important role throughout his life, especially when he lived in the nearby Figaro House, but also after his death: He married Constanze Weber here, had two of his children baptized in the cathedral and a few months before his death, Mozart applied for the position of music director adjunct at St. Stephen's. Mozart's name can be found both in the record of his death and in the cathedral's Book of Death Fees.
Apart from Mozart, Antonio Vivaldi, Christoph Willibald Gluck, Antonio Salieri, Franz Schubert and Wolfgang Amadeus Mozart are also recorded here in the Book of Death Fees.
Gerald Wirth
Vienna Boys Choir, Artistic Director
Superar, Co-Founder
Wirth Music Academy, Founder and Pedagogical Director
Gerald Wirth has been artistic director of the Vienna Boys Choir since 2001 and its president since 2013. He continues the choir's long tradition, while at the same time seeking new challenges for the boys' choir as an instrument. Wirth has initiated a number of trend-setting projects in connection with children's operas, world music and film music. In 2008 Gerald Wirth co-founded the music-social project "Superar", which aims to open up quality access to music for children and young people across all social, cultural and linguistic barriers. The "Wirth Music Academy", which he co-founded, organizes training and further education; it also works together with institutions in Asia and South America.
The regular work with children and musicians all over the world (Stimmbogen Austria, El Sistema in Venezuela, Mozartchoir of India, music pedagogy training in Jordan, VBCMA Hong Kong, regular exchanges with music pedagogues in China, etc.) has an immense influence on his artistic activities; as has his collaboration with well-known artistic personalities from various genres such as Nicolaus Hanoncourt, Ricardo Muti, Pierre Boulez, Bertrand de Billy, Ravi Shankar, Zubin Metha, Peter Wolf and many others.
Gerald Wirth is not only concerned with perfecting musical performance, but much more with music as a medium that positively influences every area of the personality. Over the years he has developed his own method of elementary and general music education, with which people of all ages can learn to express themselves in music.
Vienna Cathedral Orchestra
The Vienna Cathedral Orchestra is made up of musicians from all the major Viennese orchestras. The spectrum ranges from chamber music ensembles to the romantic symphony orchestra. At the Sunday High Masses, at many other services organized by the Cathedral Music, at special events and at the concerts of the Cathedral Music, the Cathedral Orchestra is the partner of soloists and choir.
The history of music in St. Stephen's Cathedral probably goes back as far as liturgy has been celebrated in this church, i.e. at least 870 years! The first documented mention of the organized church music is in the abbey letter of Duke Rudolf IV from the year 1365, in which in connection with the establishment of a collegiate chapter (today's cathedral chapter) also a cantor is mentioned, who was responsible for choirmaster, choristers and pupils (Stephaner Sängerknaben). Among the prominent musicians who were active at St. Stephen's Cathedral, Johann Joseph Fux, the brothers Michael and Joseph Haydn, and Wolfgang Amadé Mozart may be mentioned.
Scores and Practicing
You can add the scores for the piece to your registration when booking. We will use the Carus edition at the Sing Along! Choir Festival. Within Europe we will be happy to send the scores to you in early April. Order deadline is March 31st 2024. If you already have the scores or prefer to order them yourself, you can find the edition directly at Carus: Bruckner Mass in D-minor: Carus 27.092/05
The additional piece to be sung will be announced later!
G. Fauré, Requiem
11 to 13 July 2024 | St. Stephen's Cathedral, Vienna
Sing Fauré's Requiem on the occasion of the 100th anniversary of his death as part of the Sing along! Festival Choir in Vienna's St. Stephen's Cathedral. Written between the death of his father and that of his mother, it is a vision of death not in the sense of a sombre funeral, but of happy relief. "It is as meek as myself," Fauré himself later noted.
The additional piece to be sung will be announced later!
Under the direction of Prof. Gerald Wirth, Artistic Director of the Vienna Boys' Choir, they will study the work over several days in workshops. Afterwards they will perform it as part of the Sing along! festival choir in a large-scale evening concert in Vienna's St. Stephen's Cathedral, accompanied by the orchestra of the Vienna Cathedral Music and renowned soloists.
Repertoire and Composers
Repertoire
Requiem (op. 48) - G. Fauré
In its original form, composed in 1887/88, the Requiem consisted of only five movements: "Introit" with "Kyrie", "Sanctus", "Pie Jesu", "Agnus Dei" and "In Paradisum"; the instrumentation initially envisaged a pure string orchestra (violin only solo) together with harp, timpani and organ. The work was premiered in this form on 16 January 1888 in the Madeleine in Paris. In the spring of the same year, Fauré added two horns and two trumpets to the orchestra; this version was first performed on 4 May 1888. In 1889-92, the composer arranged the Requiem for chamber orchestra, adding the "Offertorium" (composed around 1889-91) and the "Libera me" (newly arranged around 1890/91), which had already been composed in 1877. This "1893 version" was first performed on 23 January 1893, but did not appear in print until 1994. Fauré himself made a further revision of the Requiem in 1894-99, adding woodwinds and violins and thus creating a version for large orchestra, which was first performed on 12 July 1900 and then appeared in print. This version is the generally performed and well-known final form of the work. Although the composition of the Requiem is closely linked to the deaths of Fauré's parents (1885 and 1887), the composer retrospectively emphasised that the composition was written "without an occasion", "for my own pleasure, if I may say so".
In his requiem mass, Fauré left out the violins to a great extent - in the first version they are only provided as soloists - and thus darkened the timbre of the work considerably, concentrating on the elegiac timbre of the respective divided violas and cellos. Characteristic, however, in contrast to most other Requiem settings, is the complete renunciation of theatrical effects and the strong withdrawal of dynamics; instead, Fauré (like Gounod before him) concentrates on a graceful melodiousness of both the choir and the solos. The structure of the Requiem features some striking innovations: for example, Fauré deleted the "Dies-irae" sequence except for the last verse ("Pie Jesu"), but on the other hand added the "In Paradisum", which was originally heard during the transfer of the corpse from the church to the cemetery. Among the few passages that do not radiate seraphic calm is the striking Introit with its multiple contrasts of powerful orchestral unison and restrained choral response, surprisingly revisited towards the end of the Agnus Dei. The Sanctus, with its harp arpeggios throughout, ethereal violin overtones and gentle, lullaby-like vocal cantilenas, is certainly one of the Requiem's most evocative passages; towards the end of the movement, the 'Hosanna' cries are carried by majestic chords and emphatic horn calls. The concluding "In Paradisum", which is reminiscent of Gounod's "Ave Maria" from afar, is similarly enraptured with its prelude-like triadic breaks in the organ, which are taken up by the harp towards the end and lead to a peaceful, if somewhat cloying, conclusion.
Despite its long genesis, the work is stylistically very uniform. "Even stronger than the charm of the Requiem is the lingering impression of the naïve-mystical, of a vision of death not in the sense of a sombre funeral but of a happy relief, not of a painful transition but of a longing for the afterlife" (Marie-Claire Beltrando-Patier). In part, this renunciation of dramatic and abysmal aspects is rooted in Fauré's compositional style, but it also reflects his personal view of death. The composer wrote to Eugène Ysaye that the piece was "of a gentle character, like myself". The Requiem is Fauré's best-known and most frequently performed work in and outside France; it had a far-reaching effect on the development of French church music and clearly influenced Maurice Duruflé, for example. Its relative ease of performance makes it accessible even to amateur choirs.
Composers
Gabriel Fauré (1845-1924)
The son of a school headmaster, he grew up not far from Carcassonne at the foot of the Pyrenees. At the age of eight, he was already playing the piano excellently and the following year was accepted at Louis Niedermeyer's Paris school of church music. After Niedermeyer's death, the young Fauré was taken on by Camille Saint-Saëns, 10 years his senior, from 1861. This friendship was to last all their lives. Fauré took part in the Franco-German War of 1870/71 as a courier for an infantry regiment. After his return home in 1871, he was one of the founding members of the Société Nationale de Musique.
Fauré worked as an organist in Rennes and Paris, but was still only able to keep his head above water by working with choirs and teaching piano. When he appeared in the Parisian salons in the evenings, he attracted much admiration as a brilliant improviser on the piano and by his pleasant appearance. In 1892, he was appointed inspector of music education, and in 1896 he was entrusted with the great organ at the Madeleine. In the same year he took up a professorship in composition at the Conservatoire de Paris and from 1901 he taught at the École Niedermeyer. He was director of the Conservatoire from 1905 to 1920, during which time he thoroughly modernised the curriculum. From 1903, Fauré wrote regularly about music in the renowned daily newspaper Le Figaro. In 1920 he received the Grand Cross of the Legion of Honour.
After an unhappy engagement around 1877, Fauré married Marie Fremiet, the daughter of a sculptor, in 1883. This marriage, which produced two sons, was unfortunately unhappy. Around 1900, Fauré fell in love with the 24-year-old pianist Marguerite Hasselmans. This relationship was not concealed, but neither was it legalised by marriage; it lasted until Fauré's death.
If, compared to his contemporary Claude Debussy or his descendant Maurice Ravel, he is not very present in international musical life, it is probably due to stylistic and historical reasons, as well as the fact that he left behind hardly any works with large orchestras. Even his high-profile Requiem was originally written for a meagre instrumentation. The main exception is his music for the play Prométhée, written after Aeschylus. The premiere took place in 1900 in the bullring of Béziers, so to speak in Fauré's south-western French homeland. Several hundred singers and instrumentalists were involved, including 30 trumpeters alone. Fauré managed this "effortlessly", writes R. Crichton. The music showed none of his usual restraint.
According to most connoisseurs, Fauré found the peak of his creativity in vocal music, especially in his piano songs. It is interesting that some of his songs, such as Après un rêve, are known outside France mainly in instrumental arrangements (e.g. for cello and piano). Fauré also wrote chamber music (two piano quartets, piano quintets, violin sonatas, cello sonatas) and piano music.
Gabriel Fauré died of pneumonia in Paris in 1924 at the age of 79. During the funeral in the Madeleine, the composer's Requiem was also performed. He was buried at the Cimetière de Passy.
The additional piece to be sung will be announced later!
Schedule
Thursday, 11 July 2024
Afternoon: rehearsal no. 1
Evening: welcome-reception in the roof atrium of St. Stephen’s
Friday, 12 July 2024
Morning: rehearsal no. 2
Afternoon: rehearsal no. 3
Saturday, 13 July 2024
Morning: dress rehearsal with the Vienna Cathedral Orchestra
Evening: festive concert at St. Stephen's Cathedral
Followed by: concert-reception
Concert in St. Stephen's Cathedral
The festive finale of the 41st Sing Along! Choir Festival is the performance of Bruckner’s Mass in D-minor in St. Stephen's Cathedral in front of a grand audience. In this way, you continue the tradition of music in the cathedral and follow in the footsteps of great composers. It was in St. Stephen's Cathedral that Joseph and his brother Michael Haydn received extensive musical training as choirboys. Joseph Haydn married here, as did Johann Strauss and Wolfgang Amadeus Mozart.
For Mozart, St. Stephen's Cathedral played an important role throughout his life, especially when he lived in the nearby Figaro House, but also after his death: He married Constanze Weber here, had two of his children baptized in the cathedral and a few months before his death, Mozart applied for the position of music director adjunct at St. Stephen's. Mozart's name can be found both in the record of his death and in the cathedral's Book of Death Fees.
Apart from Mozart, Antonio Vivaldi, Christoph Willibald Gluck, Antonio Salieri, Franz Schubert and Wolfgang Amadeus Mozart are also recorded here in the Book of Death Fees.
Gerald Wirth
Vienna Boys Choir, Artistic Director
Superar, Co-Founder
Wirth Music Academy, Founder and Pedagogical Director
Gerald Wirth has been artistic director of the Vienna Boys Choir since 2001 and its president since 2013. He continues the choir's long tradition, while at the same time seeking new challenges for the boys' choir as an instrument. Wirth has initiated a number of trend-setting projects in connection with children's operas, world music and film music. In 2008 Gerald Wirth co-founded the music-social project "Superar", which aims to open up quality access to music for children and young people across all social, cultural and linguistic barriers. The "Wirth Music Academy", which he co-founded, organizes training and further education; it also works together with institutions in Asia and South America.
The regular work with children and musicians all over the world (Stimmbogen Austria, El Sistema in Venezuela, Mozartchoir of India, music pedagogy training in Jordan, VBCMA Hong Kong, regular exchanges with music pedagogues in China, etc.) has an immense influence on his artistic activities; as has his collaboration with well-known artistic personalities from various genres such as Nicolaus Hanoncourt, Ricardo Muti, Pierre Boulez, Bertrand de Billy, Ravi Shankar, Zubin Metha, Peter Wolf and many others.
Gerald Wirth is not only concerned with perfecting musical performance, but much more with music as a medium that positively influences every area of the personality. Over the years he has developed his own method of elementary and general music education, with which people of all ages can learn to express themselves in music.
Vienna Cathedral Orchestra
The Vienna Cathedral Orchestra is made up of musicians from all the major Viennese orchestras. The spectrum ranges from chamber music ensembles to the romantic symphony orchestra. At the Sunday High Masses, at many other services organized by the Cathedral Music, at special events and at the concerts of the Cathedral Music, the Cathedral Orchestra is the partner of soloists and choir.
The history of music in St. Stephen's Cathedral probably goes back as far as liturgy has been celebrated in this church, i.e. at least 870 years! The first documented mention of the organized church music is in the abbey letter of Duke Rudolf IV from the year 1365, in which in connection with the establishment of a collegiate chapter (today's cathedral chapter) also a cantor is mentioned, who was responsible for choirmaster, choristers and pupils (Stephaner Sängerknaben). Among the prominent musicians who were active at St. Stephen's Cathedral, Johann Joseph Fux, the brothers Michael and Joseph Haydn, and Wolfgang Amadé Mozart may be mentioned.
Scores and Practicing
You can add the scores for the piece to your registration when booking. We will use the Carus edition at the Sing Along! Choir Festival. Within Europe we will be happy to send the scores to you in early April. Order deadline is March 31st 2024. If you already have the scores or prefer to order them yourself, you can find the edition directly at Carus: Information on the exact scores will follow!
The additional piece to be sung will be announced later!
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Frequently Asked Questions
Tell me About the Sing Along! Choir Festivals?
The Sing Along! Choir Festivals are Sing Along Concerts, where important pieces for choir and orchestra are performed. The Sing Along! Festival Choir, which is newly formed for each piece, is composed of individual singers and choirs from all over the world, who register for a Choir Festival and prepare the respective work at home in advance. In several-day rehearsals with a renowned choirmaster, the fine-tuning takes place before the work is performed with a professional orchestra and renowned soloists in Vienna's St. Stephen's Cathedral or Salzburg Cathedral.
Who Can Participate in the Sing Along! Choir Festivals?
For the Sing Along! Choir Festivals both entire choirs and individual singers, both amateur singers and long-standing professionals can register. The singers rehearse the work in advance, the fine tuning is done in the rehearsals.
Can Groups and Choirs Register As Well?
We are also very happy to welcome groups and choirs to the Sing Along! Choir Festivals. For choir and group inquiries please contact us by e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it.! You can also register your group or choir directly via our Online Registration System, in which case we will contact you with the details of your singers.
In Which Languages are the rehearsals Held?
Music is the universal language we all speak. Nevertheless, the rehearsals of the Sing Along! Choir Festivals are held bilingually in German and English.
Which Services are Included in the Participation Fee?
The participation fee includes the following services:
All rehearsals
Reception in the roof atrium of St. Stephen's Cathedral / in the Domchorsaal
Festive final concert in St. Stephen's Cathedral / Salzburg Cathedral
Reception after the concert with all artists
As a memory, 1 poster and 1 programme booklet mentioning the name of each participant
Are Auditions Necessary for Participating in the Sing Along! Choir Festivals?
We trust in your ability to judge whether you are capable of singing the respective choral piece. Should you be in doubt please write to This email address is being protected from spambots. You need JavaScript enabled to view it..
Do I have to prepare the work at home?
Yes, it is necessary that you prepare with the scores at home, in the rehearsals the finishing touches are made. Many choir singers use Carus Music / Choir Coach or other practice parts to rehearse the works.
Is the Number of Participants Limited?
Yes, the number of participants is limited depending on the piece performed. Registrations will be considered after receipt.
How Much is the Participation Fee?
The participation fee for the Sing Along! Choir Festivals in 2024 is € 120,- until December 31st 2023 (Early bird discount) and € 130,- from January 1st 2024.
Will the Scores for the Respective Piece be Sent Out?
Within Europe we will be happy to send you the appropriate scores in early April, which you can add to your registration. The order deadline is March 31st 2024. The costs for the scores and their shipping for the Sing Along! Choir Festivals are:
Bruckner d-minor Mass: € 19,-
Fauré Requiem: € 14,-
If you already have the scores or prefer to order them yourself, the publisher for all scores is Carus-Verlag:
Bruckner Mass in D-minor: Carus 27.092/05
Information on the exact scores of the Fauré Requiem will follow!
Are Combi Reductions Available for Several Sing Along! Choir Festivals?
Many of our participants sign up for more than one Sing Along! Choir Festival. In this case you benefit from the following discounts.
Participation in two choir festivals: You receive a 10% discount on the participation fee
Participation in three choir festivals: You receive a 15% discount on the participation fee
What are the Cancellation Conditions?
Should you wish to cancel your fixed participation in the Sing Along! Choir Festival 2022, the following cancellation conditions apply.
until 8 weeks before the choir festival: € 20,- cancellation fee
8 - 4 weeks before the choir festival: 50 % cancellation fee
3 - 1 weeks before the choir festival: 75 % cancellation fee
from 1 week before the choir festival: 100 % cancellation fee
In case of travel restrictions or a lockdown your cancellation and the refund are of course free of charge.
These cancellation conditions also apply to online bookings of your participation. The message "Tickets purchased online cannot be cancelled" displayed during the online booking process is an automated message that we unfortunately cannot change to the above cancellation conditions.
Please request the cancellation conditions for groups (from 10 persons) separately under This email address is being protected from spambots. You need JavaScript enabled to view it.
How does the Online Registration Work?
Via our Online Registration System you can complete your registration and also pay directly. The following steps are necessary:
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Add a Registration Fee to the shopping cart, including scores if you need any. If you add a Combi-Registration for 2 choir festivals to your shopping cart, please choose your combination in the next step.
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After you have chosen "Checkout", enter your data in the contact form. If you want to make a Combi-Registration for 2 choir festival participations please choose your desired combination here.
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Click "Continue" to proceed to the online payment by bank transfer or credit card. After you have clicked on "Place Order and Charge my Account" you can complete the order.
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You will receive an automated confirmation by e-mail, which also includes an Online Ticket that you can take with you to the Choir Festival as confirmation of your registration. Please note that you will only receive one Online Ticket, even if you have registered for a Comb-Registration; you are still registered for the Choir Festivals of your choice.
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To provide you with a contact person in case of questions, we will nevertheless contact you personally.
I Made an Online Combi-Registration but Only Got One Ticket - am I Registered for Both or all 3 Choir Festivals?
Due to system restrictions it is unfortunately not possible to issue more than 1 ticket for an online combi-registration. In the lower part of the Online-Ticket you will find the combi-registration for 2 or 3 Choir Festivals indicated and you can take the ticket to both or all 3 events as confirmation. In our participant lists you are noted accordingly in any case.
How to Register by E-Mail?
You can also register by e-mail to This email address is being protected from spambots. You need JavaScript enabled to view it..Simply send us the completed registration form:
Registration form Bruckner Mass in D-minor Vienna
Registration form Fauré Requiem Vienna