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I went to the Houston Symphony yesterday to hear Carmina Burana. My seat was row D, center. It turned out they took out rows A and B for the large orchestra and chorus. I could have tied the conductor's shoes for him.I assume I kind of got to experience what a conductor hears. It felt like the old Maxell tape ad.
It was interesting but not something I'd like to do again.
Edits: 04/29/24Follow Ups:
"Nearfield" (proper) implies more than physical proximity in the "fore and aft". It is supposed to signify relative absence of adulterating reflected sounds coming from any direction, for the purpose of maximizing the audibility of direct sound...
So, while simply moving closer to the orchestra in a concert hall will bring you "near" it is not, never can be, and never was - "nearfield".
Moving closer only gives you a different type of "midfield" sound.
Don't forget I told you so.
As far as I know, "nearfield" listening is (relatively) small speakers placed in close proximity to the listener, to create an illusion of "larger size" due to less air needed to be moved in order to produce the bottom end and scale of the music....... The effect would go away completely once the listener leaves the "sweet spot." ... (I could be wrong here.... )
Sitting in the first rows in a concert hall creates a different illusion altogether...... You hear the individual musicians in close proximity..... It is almost impossible to create that on recording, unless close miking is used directly in front of the orchestra. (The speakers would also have to be set far apart, to re-create the stereo "spread" from that vantage point.... Which is not typical of nearfield listening.)
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at Carnegie Hall for the Mahler 6 with Rattle and the BRSO. Should be bracing.
FWIW, I had a similar seat (many years back) for a performance of the Verdi Requiem and we were immediately presented with a humongous bass drum, stage front, right in front of us. Only somewhat of an imbalance given Verdi's use of it.
Center seat for Grieg Piano Concerto and Pines of Rome.
I could see the winds only between Rattle's legs (!) and the brass not at all but I knew they were there.
Edits: 05/03/24
Rattle/BRSO in Chicago was tremendous.
I was on Row A center. They sounded great. My preference is always close to the players.
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I saw Rattle conduct a memorable Mahler 6th with LA Phil in the early 90s when he was, I believe, at his peak. Can't think of one recording of his that I like when he was with the Berliner, but do enjoy his latest Mahler 9th with BRSO.
Look forward to hearing more recordings of him with BSRO
Have you heard his St. Mathew's Passions with the Rundfunkchor Berlin?
We were stunned how powerful it was.
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The countertenor, soprano, and baritone stood within four feet of me. I was prepared to dodge spit.
Late ticket purchase required row C seats. The startling dynamics raised the hairs on my arm!
Fun, but not my desired seat for most concerts. I'm more of an N guy. :)
Five rows back though seemed pretty darned good IMHO, although I suppose it depends on how far the stage is from the front row in different halls! ;-)
I once had a front row seat at Severance Hall for Vaughan Williams Sea Symphony. During the loudest parts, the sound seemed to go overhead, and there was much less impact than I would have expected, given my proximity to the stage.
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