Playbill: Sitting onstage, there was a warmth and a resonance that didn’t exist before,” says New York Philharmonic cellist Nathan Vickery following the exploratory “tuning” week this past August. That’s when Music Director Jaap van Zweden, acousticians, and the players themselves gathered in the new Wu Tsai Theater to fine-tune the space in anticipation of the opening of the new David Geffen Hall in October. Coming two years ahead of schedule, it was one of the few silver linings around the clouds of the global pandemic.
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While I don’t understand a whole lot about how a space creates the ideal acoustics for a philharmonic, it was cool to get a brief look into it. I’m not sure if this is where it was filmed, but this article mentioned the space in Berlin, which is where the orchestra plays in the film Tár that I recently saw with Cate Blanchette. I have mixed feelings about that film and some harmful stereotypes I believe it perpetuates, but the way it showcases music and orchestras, and orchestral spaces is beautiful. I wonder if the audiences of these performances can feel the difference in the space the way the musicians can. I’m sure seasoned audience members do. The idea of putting it in the round is fascinating too as I’ve viewed music in mostly a proscenium space. Carnegie Hall is very much like that, so I see how the ability to have more surround sound can be desirable.
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