Concert halls and theatres

In some of these examples, the experience for the conductor and audience positions has been simulated. The conductor position is definitely the most special one as the musicians are very close and the positions are at very different angles – in the range of +/-90 degrees – while for the audience positions will typically be less than +/-30 degrees. Also, it is evident that there is a problem with the balance between instruments for the conductor experience due to the variation of distances between the conductor and different instruments, which is much more significant than for a typical audience position.

All examples with auralization are marked with the icon . In order to have an optimal performance when listening to the audios, please use headphones (better than e.g. stereo or surround sound system). You can read more about auralizations, openGL and measurements vs. simulations at this page.

Photo by Optimale.
Salzburg, Austria.   Mozart “Donna Elvira Aria”
Photo by Jorge Royan.
Munich, Germany. Beethoven’s Symphony no. 7, 1st movement.
Photo by Ärkan.
Gothenburg, Sweden. Mahler’s Symphony no. 1, 4th movement
Photo by Ungry Young Man.
London, UK.  Bruckner’s, Symphony no. 8, 2nd movement.
Photo by El Grafo.
Bayreuth, Germany.   Donizetti, Verdi, Puccini and Machaut.
Photo by Tetraktys.
Santa Maria, Brazil.   G. Verdi “Di tale amor, che dirsi”.
Jönköping, Sweden.
Photo by Ukiws.
Antalya, Turkey
Stuttgart, Germany. Brahms’ Symphony no 4, 3rd movement
Vienna, Austria.  Mozart’s 40th Symphony.
Amsterdam, Holland. Ludwig van Beethoven’s Symphony No. 8 in F Major, Op. 93, movements 1, 2 and 4.
Photo by RhinoMind
Aarhus, Denmark.  Brahms’ Symphony no 4, 3rd movement.
Photo by Brian McNeil
Edinburgh, Scotland. .
Warwickshire, England.
Concert Hall in Rome by Matteo Novembri, Advanced Technologies S.r.l., Rome, Italy.