Electrifying Eroica -- and acoustics issues
Here's the symphony review.
One thing I noticed last night was the positioning of the orchestra in front of the proscenium for the Beethoven. Moving the orchestra farther out into the hall is something they are considering in the proposed renovation. But last night, I was surprised that I had a hard time hearing the horns, and someone else complained that the brass sound wasn't as prominent. Perhaps it was because there was a big space behind them and all that sound was lost to the back, rather than reflected into the hall.
What did you think?
posted by Janelle Gelfand at 12:49 PM
9 Comments:
at 11/03/2007 03:45:00 PM 
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at 11/03/2007 04:26:00 PM 
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at 11/03/2007 04:37:00 PM 
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at 11/03/2007 10:25:00 PM 
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at 11/04/2007 09:26:00 AM 
Janelle Gelfand said...
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at 11/04/2007 02:53:00 PM 
Joel Hoffman said...
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at 11/04/2007 06:47:00 PM 
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at 11/05/2007 11:53:00 PM 
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at 11/06/2007 01:26:00 AM 
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Post a Comment*Its the same setup as during the may festival, but with the addition of the accoustic "clouds" over the orchestra.
As the previous poster mentioned, the setup is necessary to avoid having the chorus sing from somewhere out on Central Parkway. Perhaps the chorus could sing from in front of the orchestra, as in Haydn's time? Some creative staging should be attempted, perhaps with the orchestra on raised platforms and the chorus down front in a slightly lowered pit -- with the conductor closer to the main floor level.
From the stage there are always severe acoustic problems regardless of the position of the orchestra. Hearing front to back and side to side is impossibly difficult. I was thinking about your comments regarding the other CSO. Having a dry hall can sometimes help an orchestra to hear better enabling better ensemble. That's not a silver bullet by any means but can help.
Those plastic shields directly in front of the brass may protect the woodwinds, but they also block a good bit of resonant sound from reaching the audience. Clarity is important, supposedly from lowered cloud panels, but so too is a warm resonant sonority.
These are all excellent observations. I think it's a warning that the powers must be exceedingly careful in any changes they make. It's funny; when the May Festival Chorus is physically there, I have never noticed a problem hearing the brass. I was sitting in "the best seat in the house" -- balcony front. I think the sound varies quite a bit depending upon where you sit.
I had no trouble with acoustics (also front of the balcony). This was one of the most memorable CSO concerts I've heard in years!
I've found the balcony the best also but it's got to be only the first 2 or 3 rows--out from under the overhang.Also the house left balcony is the pits oddly enough.
As usual your review of the Friday performance was quite accurate. However from where I sat - row 15 in the middle - the acoustics sounded fine. There were some balance differences from the usual position, but on balance it sounded to me a bit more immediate and with a wider spread of sound. The Beeethoven on Friday was indeed electrifying, much in line with Paavo's recording with the Deutsche Kammerphilharmonie Bremen. However the Saturday performances of all the works were really spectacular. The orchestra especially sounded much more comfortable and relaxed in the Stravinsky pieces, with no hint of the tentative about them. But the Beethoven was truly a performance for the ages. Every phrase, every gesture, every note counted, as if it were freshly minted yesterday, fulfilling what seemed in retrospect merely hinted at in the Friday performance. No on who attended will ever be able to listen to the Eroica again in the same way.
It is extremely gratifying to read all of your positive comments about our playing...thank you very much! I just wish that there were a thousand more of you each night that would come to check us out.
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