Wagner is the example of a composer caring for the entire “production” chain of his works. A specific venue, the Festspielhaus in Bayreuth, was dedicated and built for a handful of his own compositions. But through their popularity Wagner’s operas are nowadays played in theaters and opera houses all over the world with different acoustic conditions. How does this affect the performance and musical perception and what can be observed in recordings or measurements? As an example, the acoustic recordings of performances of “Lohengrin” in (1) a typical smaller opera house in Germany and (2) in the Festspielhaus Bayreuth are compared and analyzed. Differences regarding running- and decay reverberation are addressed.
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