One unique problem confronting the sound team at Santa Fe was the open air theatre, which has a reflective roof but no side walls for placement of surround loudspeakers for the ambient effects of the sound design. So with sound design it means ultimately to create, transparently, the sound world of the composer’s intention.” You’re using the dimensions of the stage, you’re using space and time, all of these things. “It’s an interesting scenario because of the expectations of audiences when they come to live opera. “Over the 30 years I’ve been working with John and Peter we’ve formed a tight bond regarding what the presentation will be like on stage,” says Grey. Beam steering enabled us to create zones in the theatre to have evenly focused sound energy throughout the audience without having high overall SPL.”Īccording to Mark Grey, the Meyer Sound loudspeakers proved to be an indispensable component in advancing Adams’ and Sellars’ redefinition of the opera experience for 21st century audiences. “We could benefit from the advanced digital beam steering without having a large line array hanging in our space. “The Meyer Sound CAL loudspeakers appealed to us because they uniquely offered superior sound quality in a low profile,” says Karl Kern, audio-visual director for the Santa Fe Opera. Atomic and similar future productions, was a permanent installation of Meyer Sound CAL 64 and CAL 32 column array loudspeakers, one of each per side. Further complicating matters was the theatre’s roof, which was intentionally designed as a reflective surface to bolster unamplified productions. That certainly would demand amplification in the 2,100-seat venue, but at the same time opera management was reluctant to impinge on the sleek architecture with large line arrays while potentially arousing misgivings among traditional opera purists. Both Adams and Sellars - the latter also directing - preferred a singing style that was subtle and intimate, contrasting with the more forceful projection of classic opera. Sound design and system configuration in the semi-open-air Crosby Theatre entailed multiple challenges.
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In order to create a three-dimensional soundscape for the production - deftly balancing natural-sounding singing with full orchestration and evocative sound effects - eminent sound designer Mark Grey specified an augmented Meyer Sound loudspeaker system based around four CAL column array loudspeakers that had been recently installed at the theatre. Robert Oppenheimer as he headed development of the first atomic bomb at Los Alamos Laboratories, situated barely 20 miles from the opera’s Crosby Theatre. This 2005 contemporary opera by composer John Adams and librettist Peter Sellars centers on the inner turmoil of Dr. With this past summer’s acclaimed production by the Santa Fe Opera, 73 years after the first blinding nuclear detonation, Dr.
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