Pictures I like

[brewski]

Another view of the Philadelphia hall, where I returned for a repeat of the same concert. Despite having been in this hall for decades, I'd never sat in the section behind the orchestra, and it was quite an experience. Yes, the balances were off—e.g., lots of brass and percussion—but that was completely offset by being able to get closer to the musicians, and the sensation of being swept up by the orchestral mass. Definitely going to sit here again, if not regularly, now and then.

-Bruce

[Mapman]

Another view of the Philadelphia hall, where I returned for a repeat of the same concert. Despite having been in this hall for decades, I'd never sat in the section behind the orchestra, and it was quite an experience. Yes, the balances were off—e.g., lots of brass and percussion—but that was completely offset by being able to get closer to the musicians, and the sensation of being swept up by the orchestral mass. Definitely going to sit here again, if not regularly, now and then.

-Bruce

I sat in those seats many times (and in a couple other halls around the world). It's a cool experience. I also don't mind the unusual balance since I played clarinet in student orchestras, so I'm already used to sitting behind the strings.

(And the tier 2 and 3 box seats above where you sat are a decent cheaper alternative! I've sat in most sections, and most seats are good. My least favorite are against the wall at the edges of the Orchestra seats, and the Orchestra Tier under the balconies.)

[brewski]

I sat in those seats many times (and in a couple other halls around the world). It's a cool experience. I also don't mind the unusual balance since I played clarinet in student orchestras, so I'm already used to sitting behind the strings.

(And the tier 2 and 3 box seats above where you sat are a decent cheaper alternative! I've sat in most sections, and most seats are good. My least favorite are against the wall at the edges of the Orchestra seats, and the Orchestra Tier under the balconies.)

Only because you mentioned you played clarinet, you might have loved the wave of cheering for Ricardo Morales after the Rachmaninoff—a hero's welcome vibe.

And the reason I was in this section (and frankly, came a second time) was because of their $15 rush seats, which I only discovered this week. They had options in both the Orchestra and the First Tier (last night I was in the Second Tier), and none of the choices looked bad, despite the caution that some seats may have a partial view. Agree with your assessment of the Orchestra not-so-great seats.

Next weekend, Mirga Gražinytė-Tyla will be in town conducting Haydn and Bruckner, and I may go to that one twice, as well, if tickets are available.

-Bruce

[Pohjolas Daughter]

Thank you, PD! Yes, it is, and acoustically, it's pretty good, too. The interior was intended to mimic the shape of a cello — not that being inside of a cello would be the best listening spot .

-Bruce

PD

[DavidW]

Bruce, seeing that picture reminds me that every concert I've been to in quite awhile has some amplification assistance.  What do you think about the use of technology in the concert hall?  Helps or detracts from the experience?

[brewski]

Bruce, seeing that picture reminds me that every concert I've been to in quite awhile has some amplification assistance.  What do you think about the use of technology in the concert hall?  Helps or detracts from the experience?

The short answer is, I'm not crazy about amplification, especially in classical concerts. Ideally (note: "ideally") the concert hall itself will provide all the help needed to naturally amplify the instruments.

That said, I keep hearing rumors of discreet amplification being used here and there, at institutions where you might not expect it. (I have probably experienced examples without being aware of it.) And PS, obviously this is separate from works that require electronics, for example, or have vocalists with microphones, which need speakers and engineers to ensure the right balances. For example, in Berio's Sinfonia, I don't recall ever hearing a live performance in which the vocalists weren't miked. That may be specified in the score—I don't know.

And some halls that are not-so-good may need a little help, which is likely less expensive than leveling the building and starting over. The trick is to get good equipment and hire good engineers, so that the result sounds as natural as possible—ideally so the idea doesn't even occur to audience members.

Would love to know more about your experience, e.g., where, and how much you were aware of it while the music was happening.

-Bruce

[DavidW]

Would love to know more about your experience, e.g., where, and how much you were aware of it while the music was happening.

-Bruce

So subtle that while I could see the microphones, the performances always sounded natural.  Of course perhaps they weren't even being used for classical performances (the concert hall is also used for pop music).

[Pohjolas Daughter]

Only because you mentioned you played clarinet, you might have loved the wave of cheering for Ricardo Morales after the Rachmaninoff—a hero's welcome vibe.

And the reason I was in this section (and frankly, came a second time) was because of their $15 rush seats, which I only discovered this week. They had options in both the Orchestra and the First Tier (last night I was in the Second Tier), and none of the choices looked bad, despite the caution that some seats may have a partial view. Agree with your assessment of the Orchestra not-so-great seats.

Next weekend, Mirga Gražinytė-Tyla will be in town conducting Haydn and Bruckner, and I may go to that one twice, as well, if tickets are available.

-Bruce

By the way, what is that weird black caterpillar-looking thing hanging down?  Any idea?

PD

[brewski]

By the way, what is that weird black caterpillar-looking thing hanging down?  Any idea?

PD

A loudspeaker! Here are photos that show similar models used in Disney Hall in Los Angeles.

-Bruce

[Pohjolas Daughter]

A loudspeaker! Here are photos that show similar models used in Disney Hall in Los Angeles.

-Bruce

I suspected as much.

PD

[SimonNZ]

So subtle that while I could see the microphones, the performances always sounded natural.  Of course perhaps they weren't even being used for classical performances (the concert hall is also used for pop music).

If I see microphones hanging down at the concert hall here it tells me that the concert may be broadcast on the radio at a later date.

They have speakers just like the ones in the photo, but they are for other types of events, including lectures and award ceremonies or comedy acts.

[SimonNZ]

Setting your clock back an hour:

[Florestan]

Setting your clock back an hour:

Very good! 

[brewski]

This looks like a fabulous recording (which I've never seen), but equally important, the over-the-top text is hilarious.

-Bruce

[SimonNZ]

July 7, 1946

[SimonNZ]

And on the same theme, another photo I like:

[Pohjolas Daughter]

And on the same theme, another photo I like:

The image isn't showing (at least at my end).

PD

[ritter]

The image isn't showing (at least at my end).

PD

I can see it, PD. It's (I think) a still youngish Jimmy and Rosalynn Carter.

Perhaps you can see it as an attachment to this post?

Best,

[Pohjolas Daughter]

I can see it, PD. It's (I think) a still youngish Jimmy and Rosalynn Carter.

Perhaps you can see it as an attachment to this post?

Best,

Yes, thank you!

I've always admired their humanitarian work.

PD

[brewski]

From a pianist acquaintance, who unearthed this gem.

"Schoenberg cocktail party!"

(PS, I'm actually quite curious to hear this, since I don't know the pianist.)

-Bruce