Theatre Design & Technology - Summer 2001 - 62

Each performer therefore has two radio mics, with two transmitter
packs. There are two digital mixing consoles plus a further analogue backup.
Regular maintenance and routine checking is essential. The speaker system is checked thoroughly before each performance. Sometimes cables get
dislodged or torn, electrical faults are also noted. But when things do go wrong
the policy is to switch off the problem rather than suffer the interference.

Inclement Weather

If it rains particularly badly, there is a scaled down version of the production which can be performed in the indoor theatre but only to 1,700
people; the rest get despatched home with or without a refund. But of
course it does rain in performance, sometimes quite badly, and thunder
and lightening are also regular hazards. The risk can equally be from
bad weather before the show as much as during it. Speaker coverings get
soaked which adversely affects the sound. Water gets into everything but
the noise it creates can be as problematic as the electrical damage it
does. Wind is also a problem. When it exceeds 80km/hour the stage has
to be evacuated even though the structure is tested to withstand far
greater wind speeds.
Whether from rain or sweat, the principals' microphones can easily
get damaged. As a consequence they wear a headset with two AKG mics in
place. One has a wind cover, the other acts as a backup; both are sweatsafe (figure 5). It is possible for a costumed sound technician to run up
to a singer and throw a third one round his or her neck to rectify faults.
Last summer in rehearsals a singer even fell in the lake with mics intact
and clambered back on stage to continue; a new mic would have been
the only solution in this instance had the rehearsal not been discontinued
after this historic diving incident by King Gustav!
Good weather also presents its challenges. At temperatures of 30
degrees (86° F.) during the day, the heat affects the high frequencies. As
the air gradually cools the sound needs constant re-balancing.

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Dreams for the Future

Fritz offered two potential developments for future projects. As opera is
normally heard within an architectural environment he would like to add
the equivalent of room reflections to the acoustic system. This might include speakers behind and to the side of the audience. The LARES
Lexicom system points the way forward. The second dream is a combined mix and matrix system with automatic sound-following: 100 sound
areas would be possible with moving time delays. He reckons this might
take a further three years to develop.
I draw attention to the wonders of designing and managing a sound
design for spectacle on this scale. The important thing to remember is
that you are largely unaware of the technology, merely impressed that the
sound is clear and appears to come from the character that is singing.
However, it is impressive how seriously the company takes their work
and that all eventualities are anticipated to ensure the production is always of the highest standard.
The new production of La Bohème opened on July 18th, 2001. It
may be too late to attend the Bregenz Festival in 2001, but it is an absolute
must at some time in your career. Information about the festival is available
online at www.bregenzerfestspiele.com. ❖
Peter Ruthven Hall has worked extensively in opera both in
Britain and on the continent. He was one of the award winning
British designers in PQ '95 and is co-author of two compilations
of British design, MakeSPACE! and Time + Space.
TD & T

S U M M E R

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http://www.bregenzerfestspiele.com

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