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Opera House

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Prithvi Gowda

on 26 September 2013

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Transcript of Opera House

Opera House
Acoustics in Theatres
Acoustics of theatres is relatable to performers as well as spectators within both performance halls and regular movie theaters. It helps make a difference in how much can be heard.
Sydney Opera House.
An opera house is a theatre building used for opera performances.
It consists of a stage, an orchestra pit, audience seating, and backstage facilities for costumes and set building.
While some venues are constructed specifically for operas, other opera houses are part of larger performing arts centers.
The first public opera house was the
Teatro San Cassiano in Venice, Italy,
which opened in 1637.

The first
opera house in Germany was built in Hamburg
in 1678.

Early U.S. opera houses served a variety of functions in towns and cities, hosting community dances, fairs, plays, and vaudeville shows as well as operas and other musical events.
Site Plan
The construction began in March 1959. It was built in three stages:
stage I (1959–1963) consisted of building the upper podium;
stage II (1963–1967) the construction of the outer shells;
stage III (1967–1973) interior design and construction.
Acoustical Sectiom
Acoustical Section
Acoustical Section
Even Dispersion

Sound is more pleasing if it is evenly dispersed, with no prominent echoes, no significant "dead spots" or "live spots" in the auditorium.

This even dispersion is usually achieved by avoiding any focusing surfaces and avoiding large flat areas which reflect sound into the listing area.

Sometimes it is desirable to add some anti-focusing surfaces.
Simply stated, a diffusor is a device that reflects sounds more than it absorbs and can change the direction and quality of the reflected sound. Related to diffraction, refraction, and reflection.
A key difference between opera and other forms of auditorium is that two separate sound sources have to be considered: the singers on stage and the orchestra in the pit. The requirements for each source are different. The following selection of measures encompasses clarity, both for singers and orchestra, the sense of room sound, both due to early lateral reflections and reverberation, the loudness and balance between singers and orchestra:
• reverberation time
• early decay time
• objective voice clarity
• voice sound level
• objective orchestral clarity
• orchestral source broadening
• singer/orchestra balance.
Design process.
Acoustics of Opera House
Desirable acoustic properties of the auditorium can be contributed by its architecture. The desired properties at left are correlated with the measurable parameters at right.

Cross Sectional view of Sydney Opera House
Reflection, diffraction and scattering are all possible without energy loss. In practice, some absorption of sound energy occurs for reflection from all surfaces, while some materials are highly absorbent.
The most common absorption mechanism is porous absorption; sound energy is dissipated in a porous material owing to the friction involved in movement of air particles in the pores.
Typical porous absorbers are fabrics, curtains and carpets; the most efficient materials are mineral wool, fibre-glass and acoustic open-cell foam.
Opera may be considered as drama adapted to music. However, music is an important part integrated with sung lyrics. Opera dates back to the end of the 16th century and takes its roots from song and dance entertainment on special occasions, like marriages and
royal visits, at the court of Medici’s in Florence.
It is reported that the first opera was the now lost Dafne written by the court composer Jacopo Peri between 1594 and 1598. However, the first known one is the “favola in musica” (musical tale) Euridice (text by Ottavio Rinuccini, music by Jacopo Peri, with some
insertions by Giulio Caccini).
It was performed on October 6, 1600 in palazzo Pitti (Florence) on the occasion of the marriage of Maria de’ Medici with the French King Henry the IV. Euridice marks the birth of modern opera four centuries ago.
The Opera House has a very complicated design process. It is reported that the
sound quality in opera houses is a very intriguing
matter and a risky challenge for the room acoustics
Except for La Scala in Milan, into which a
measurement microphone entered since 1946, only
few of the other surviving Italian historical theaters
have been assessed objectively to a certain degree in
recent years. It seem that the new Opera Houses have a high clarity and better hearing,.
Obviously, a new and competently designed opera house would yield more visual, aural and instrumental (measurement) satisfaction, but the magic of history and tradition is a mermaid song hard to resist.
This presentation has details from
The Acoustics of the Italian-style Opera House, Carmine Ianniello
Auditorium Acoustics and Architectural Design, By Michael Barron
Neuferts Architects' Data
Time Saver Interior Design
Thank you.
A Presentaion is done by,
Prithvi Gowda
Shamil Othayoth
Shahan Mohammed
Full transcript