If there were only one way (as if!) to raise an orchestral musician’s hackles virtually instantly, it would have to be the issue of the use of space on stage. This can take many forms. How far you are from your stand partner (if you have one). How far you are from the stand (given
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Violist Sam Bergman has a great illustration of how different it is to hear an orchestra from the audience’s point of view than from a seat in the orchestra. Sam’s a violist with the Minnesota Orchestra, which is on a European tour right now. Their first stop was the Barbican Centre in London, where the
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The newly renovated Alice Tully Hall – Photo: Robert Polidori Alice Tully Hall, long reviled for its poor public spaces and horribly dry acoustics, has just undergone a $159 million renovation, and the initial response from both architecture critics and the musician tenants of the hall is very good. The hall’s main tenant is the
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Oregonian classical music critic David Stabler has posted a follow-up on his review of last Saturday’s performance of Beethoven’s Ninth symphony. You can find it here. What I find most interesting is the discussion that has apparently begun about the efficacy of the stage extension that we use for large works for choir and orchestra.Â
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