As arts groups struggle, San Diego Symphony debuts a $125-million makeover

As a lifelong music enthusiast and someone who has attended concerts in various venues across the country, I must say that the renovation of the San Diego Symphony‘s home, formerly the Fox Theatre, is truly a remarkable transformation. The dedication to preserving the past while modernizing for the future is something that resonates deeply with me.

In March 2020, when concert venues across the nation closed down and felt a sense of unease regarding the uncertain future due to the pandemic, Martha Gilmer spotted a chance.

Ever since assuming the role as CEO of the San Diego Symphony in 2014, one of Gilmer’s primary objectives has been a significant renovation of the orchestra’s Jacobs Music Center located in downtown San Diego. With the auditorium remaining vacant and the possibility of reopening becoming less likely each week, Gilmer expressed, “We’ve stepped up our efforts.

On September 28, audiences are set to witness the breathtaking outcomes as conductor Rafael Payare and his orchestra kick off their 2024-25 season with a carefully crafted performance intended to highlight their latest “tool.

Gilmer and her crew just finished leading an extensive tour of the revitalized auditorium, and the din of final building work was still echoing. Freshly unpacked chairs were being arranged on stage as we arrived, which brought a smile to Gilmer’s face: “I’ve been eagerly anticipating new orchestra chairs for ten years,” she cheered.

The transformation within Jacobs is quite noticeable, particularly in its visual aspect. Instead of the dominating sea of red chairs, there are now sleek blue ones, designed with a gentle curve and incline for optimal views of the stage, and enhanced lighting that beautifully highlights the intricate murals and architecture. On top of safety enhancements like air filtration and ADA-compliant seating, the backstage area has been upgraded to cater to musicians and artists. This includes green rooms, guest artist suites, practice spaces, lockers for instruments, a new music library, and even a dedicated space for rehearsals. Additionally, new staircases and elevators have been installed for easier access.

All told, the renovation cost $125 million.

As a movie critic reflecting upon the challenging times faced by numerous orchestras and arts institutions in the wake of the pandemic, I often find myself pondering: How did San Diego manage to thrive where others faltered? A glance at the framed photograph on Gilmer’s desk, depicting the late Irwin Jacobs and his wife Joan, offers a clue.

She stated, “They significantly improved the fate of this orchestra.” This remark was made in relation to the unprecedented $120-million donation they gave in 2002, which was the largest gift ever given to a U.S. orchestra. Jacobs, an engineer who co-founded Qualcomm, has been a significant benefactor in his adopted city, where he began teaching at UC San Diego in the 1960s.

In numerous global business journeys, Joan and I got exposed to music performances at several renowned concert venues, as stated by Jacobs through email. It was our belief that the audience and performers alike merited a top-notch auditorium.

Year after year, this generous pair contributed and played a substantial role in the renovation initiative, even as the orchestra remained vague about the exact amount. The remaining funds were secretly provided by other benefactors.

The audience frequently voiced concerns about poor acoustics under the balcony overhang and restricted views, particularly from higher seats. Musicians endured a maze-like backstage area that resembled a congested obstacle course, with percussion instruments haphazardly stacked in one corner. The temporary orchestra shell’s legs were commonly referred to as “shin-busters.” Narrow staircases and walkways seemed hazardous, and musicians had limited spaces for rehearsals. Visiting artists needed to traverse steel catwalk stairs and descend four floors from the artist entrance.

Nevertheless, a significant aspect of the building’s charm lay in its distinctive history. Constructed in 1929, it initially served as the Fox Theatre, which was the third-largest movie palace on the West Coast at the time of its grand opening. Notable Hollywood stars like Jackie Coogan and Joan Crawford graced the theater during the event.

In 1932, the unusual circus film “Freaks” first debuted right here, and with its lavish organ, ornate rococo decor, and magnificent chandeliers, the Fox Theater was the go-to place for watching movies during Hollywood’s Golden Era.

Previously, it served as a residence for live performances of Neil Simon plays and touring musicals, along with hosting concerts by Merle Haggard and Count Basie during the ’70s and ’80s. In 1984, the San Diego Symphony, California’s oldest orchestra, which had previously performed at the US Grant hotel and the Civic Theatre, purchased this venue. It was renamed Symphony Hall when it reopened the following autumn.

Despite its shortcomings as an old-style concert venue, it stood out as one of the most well-preserved theaters from the Fox movie chain. This factor convinced Gilmer and the board that they should honor the past by restoring instead of constructing a new building.

Renovation discussions started in April 2018 with a focus on acoustical designer Paul Scarbrough and later involving the Santa Monica architectural firm HGA.

Over time, the theater was surrounded by the 34-story Symphony Towers and the Marriott Vacation Club, with a large parking garage above it. Architects discovered that the empty spaces surrounding the building could be utilized creatively: They proposed moving all HVAC and electrical equipment from the basement to the space above the building, and reclaiming the unused side gaps (spanning five floors) for the orchestra.

At the start of Payare’s role as music director in autumn 2019, he and Gilmer sought feedback from the musicians regarding their desired modifications for the concert hall. Payare was known to encourage them by saying, “Go ahead, the possibilities are endless.

“He doesn’t see barriers,” Gilmer said. “He only sees opportunities.”

The newly appointed conductor had only been on his first season for five weeks and was still residing in Berlin when the world suddenly halted. He boarded a plane to San Diego just before travel restrictions were imposed on some countries, entering the United States, as he explained, “I understand how crucial it is for musicians to stay connected.

In the midst of a pandemic, he pondered over how we might continue to nurture the ember of optimism.

One significant ambition for Gilmer was establishing an outdoor venue, similar to the Hollywood Bowl, for the San Diego Symphony. Known as The Rady Shell, this project was already underway and officially opened in the summer of 2021. Now, the orchestra has a secure year-round performance space with a stunning view overlooking San Diego Bay.

After the building lay dormant, the pace of construction picked up significantly. The entire audience section was stripped down and rebuilt anew, fresh foundations were laid in the basement, and areas were made waterproof. Now, there’s no need for conducting rainwater into the guest conductor’s suite when it rains.

Additional opera box seats have been introduced. The existing crystal chandeliers were taken away for restoration. The ceiling height was increased, and an onstage choir balcony was constructed to accommodate the performance of Mahler’s third symphony by the orchestra. Advanced tuning systems and acoustic configurations were installed – including a rigging system above and adjustable panel doors around the stage – providing more control over sound for various types of concerts.

One by one, items on the musicians’ wish list were ticked off.

“San Diego,” Gilmer said, “is a city that, I feel, its future is greater than its past.”

Regardless of other factors, the future promises an improved auditory experience for both she and Payare, as well as for the St. Louis Symphony, which is modernizing its century-old concert hall. This raises a crucial question: what changes should they prioritize in order to create the best possible environment for music?

If you build it, will they come?

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2024-09-23 13:31