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 auralisation 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 auralisations, openGL and measurements vs. simulations at this page.

teatro_foto1
Photo by Ricardo Gomes

Theatro Treze de Maio

Santa Maria, Brazil. G. Verdi “Di tale amor, che dirsi”.

Elmia concert hall

Jönköping, Sweden.

Photo by Ukiws

Aspendos theatre

Antalya, Turkey

Photo by Brian McNeil

Usher concert hall

Edinburgh, Scotland.

Bayreuth Festival Theatre

Bayreuth, Germany. Donizetti, Verdi, Puccini and Machaut.

Liederhalle

Stuttgart, Germany. Brahms’ Symphony no 4, 3rd movement

Musikverein

Vienna, Austria. Mozart’s 40th Symphony

Concertgebouw

Amsterdam, Holland. Ludwig van Beethoven’s Symphony No. 8 in F Major, Op. 93, movements 1, 2 and 4

Photo by RhinoMind

Aarhus House of Music

Aarhus, Denmark. Brahms’ Symphony no 4, 3rd movement

Compton Verney opera house proposal

 Warwickshire, England.

Concert hall in Rome

Concert Hall in Rome by Matteo Novembri, Advanced Technologies S.r.l., Rome, Italy.