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d&b Soundscape Goes To The Opera In Germany

DS100 Signal engine implemented at Frankfurt Opera to help in meeting social distancing challenges also helps bring another dimension to performances.
A perspective of the Frankfurt Opera in Germany, where d&b Soundscape has been implemented by the tech team.

Frankfurt Opera in Germany, one of the most renowned opera stages in Europe, recently chose to enrich the sonic experience of its patrons by implementing d&b Soundscape technology, which has joined the venue’s extensive sound reinforcement system that is headed by d&b audiotechnik loudspeakers.

A d&b DS100 Signal engine was purchased in time for the 2019/2020 season and the staging of a world premiere at the Bockenheimer Depot, Frankfurt Opera’s second venue. “It was a spatially complex work, with moving actors and an orchestra spread across the stage,” explains sound engineer Margit Baruschka. Unfortunately, due to the pandemic, the production was postponed to 2021.

The decision was then made to move the entire Soundscape system to the Frankfurt Opera, whiere it could be used to adapt some of the regular program to allow for social distancing rules. Head of sound Christian Wilde says, “For a production of Mozart’s ‘The Abduction from the Seraglio,’ we moved the orchestra behind the stage. Despite these unusual circumstances, we wanted to achieve a credible orchestral representation for the audience – and in this context Soundscape became our primary tool.”

The aim was to let the orchestra sound as realistic as possible, something Baruschka values highly. But with large amounts of scenery onstage, very little direct sound could be heard from the musicians playing backstage, presenting a challenge for the sound engineers. “The premise is that you shouldn’t hear our work,” Baruschka notes. “Ideally, the audience don’t even notice the electroacoustic support at all.”

To achieve this “illusion” for the audience, the venue opted to place loudspeakers in the orchestra pit. “We set up a whole battery of loudspeakers in the pit in order to let the main audio emanate from there,” explains Wilde. “For opera, it’s simply not acceptable for sound to solely come from above the proscenium.”

The team’s first experience with Soundscape has them looking to a future with the new technology onboard. “It’s by no means the case that we regard Soundscape merely as a solution for special pandemic situations,” says sound engineer Lennart Scheuren. “On the contrary, we are supporting actors with microphones all the time. In the future we will increasingly embed such signals in the sound reproduction with Soundscape and in this way achieve a more natural representation.”

For Wilde the wider benefits are also clear. “With conventional sound reinforcement, listeners who do not sit in the middle of the row will always perceive individual signals as coming more from the left or right, which makes it harder to be fully immersed in the music. Soundscape enables us to stabilize the sound image over the visible width of the proscenium opening – even if there are no loudspeakers in that exact location. It’s being able to achieve this consistency – of visual and acoustic perception – regardless of the individual seat, that is the decisive benefit of d&b Soundscape. And why it will be part of the future at Frankfurt Opera.”

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