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San Diego’s renovated symphony hall looks great, but how does it sound?

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San Diego's renovated symphony hall looks great, but how does it sound?

As a seasoned movie-goer and concert enthusiast who has traversed the globe to witness the symphonic wonders of some of the world’s most iconic halls, I must say that the recent renovation of San Diego Symphony’s Jacobs Music Center has left me utterly spellbound. This transformation from a dreary Financial District skyscraper into a vibrant cultural destination is nothing short of miraculous.

There are numerous motivations behind the recent trend of refurbishing concert halls. Often, it’s more cost-effective than constructing something entirely new. The field of acoustics, both scientifically and artistically, has seen significant advancements. Renovation can also serve as a means to preserve a historic hall. However, there are valid points in favor of beginning anew as well.

For the San Diego Symphony, contemplating a fresh start may have appeared to be the most viable solution. After all, no American orchestra of comparable caliber and potential under its dynamic music director, Rafael Payare, has found itself in such an unsatisfactory location as Symphony Towers.

Nestled within a monotonous, mixed-use skyscraper in the somber Financial District, an old yet glamorous movie palace from 1929 with poor acoustics had been serving as the uninviting residence for the San Diego Symphony. The orchestra’s primary task during performances was to uplift your spirits after navigating through a seemingly administrative building in a neighborhood devoid of life at night and on weekends, when concerts are held.

Incredibly, the San Diego Symphony has managed to transform a drab location into an attractive destination with its renovation by HGA architectural firm and acoustician Paul Scarbrough. The Symphony Towers are now surprisingly inviting. The acoustics in what was once known as Copley Symphony Hall, now called Jacobs Music Center, are outstanding. Furthermore, the neighborhood has seen significant improvement as the new hall attracts more restaurants to stay open. Parking is also a breeze.

Step into the Jacobs Entrance, and you’re immediately transported into a real-life concert venue foyer. The first attraction here is an artisanal bakery offering coffee, pastries, sandwiches, and more at prices half as much yet four times better than what’s available at LA’s Music Center. It’s not uncommon for patrons visiting the bakery (open during regular hours) to grab a loaf of sourdough bread to find themselves tempted to purchase concert tickets too. The hall has been refurbished with brand-new seats, giving it an even more attractive appearance.

The main aesthetic drawback is now the stage, no longer made of wood. Instead, it’s clad in what seems to be acoustic material, lending it an edgy industrial appearance. This new covering doesn’t reflect colored stage lights as attractively as before, but it complements the orchestral music, which boasts a blend of warmth and clarity perfectly.

After allowing the musicians some time to adjust (usually, it takes them over a year in a new acoustic environment), I attended the final Sunday matinee of their second week of regular symphony performances. Payare’s program beautifully illustrated the orchestra’s capabilities in performing traditional Beethoven concertos as well as in more spectacular orchestral pieces.

Initially, Brahms’ Violin Concerto and Schoenberg’s colorfully complex, excessively dramatic early symphonic poem “Pelleas und Melisande” were planned for the program. However, due to visa issues, young violinist Sergey Khachatryan couldn’t participate at the last minute. As a result, the seasoned Pinchas Zukerman stepped in to perform Beethoven’s Violin Concerto instead, a piece he is particularly skilled with, given his role as music director of the Montreal Symphony, where he also recently recorded “Pelleas und Melisande” spectacularly.

San Diego's renovated symphony hall looks great, but how does it sound?

At 76 years old, the Israeli violinist is usually seen conducting, yet he left a powerful impact at the amplified Hollywood Bowl last summer, performing a Mozart concerto alongside the L.A. Phil under Zubin Mehta’s leadership. Although his tone might not be as robust as it used to be and required some warming up at Jacobs, he infused the performance with a refined grace and depth when playing Beethoven’s pieces.

From my seat in the balcony there was a refined presence to his tone and a sharp immediacy to every section in the orchestra. When Zukerman returned onstage for an encore, he began by speaking (clearly heard in the hall without a microphone) about the meaning of Brahms’ beloved lullaby.

As I sat there, feeling the weight of the world upon me, I murmured, “I’m struggling,” expressing my distress at how things had gone awry. “This can’t continue!” I exclaimed, yearning for a change. “Bibi!” I called out, using a term that held special meaning to me.

1903 saw the creation of “Pelleas und Melisande” by the composer Schoenberg, who was then 29 and standing on the brink of transforming music, yet still navigating his way beyond 19th-century romanticism. This season, we honor what would have been his 150th birthday, as he masterfully utilizes an expansive orchestra to create a vibrant spectrum of instrumental hues and effects, all within a broad range of dramatic expressions. He skillfully depicts Maurice Maeterlinck’s original play in a captivating manner, with the aid of thoughtfully incorporated surtitles that make the story even more evident.

In his own way, Payare, who has a knack for Schoenberg’s music, displayed both elegance and confidence in his conducting style. This unique blend resulted in grand, sweeping movements that highlighted minute details, while maintaining an air of restrained exhilaration.

The event served as a trial for both the orchestra and the acoustics of the venue. In this instance, clarity stood out prominently. There was no harshness in the high notes, a common issue with the New York Philharmonic’s restored David Geffen Hall where Scarbrough also worked on the acoustics. Furthermore, the depth found in Geffen’s base wasn’t quite present. However, Jacobs skillfully manages both intense crescendos and soft lullabies. With time, it is expected that the hall will expand sonically and potentially grow more mellow.

Currently, this location is designed for thrill-seekers. It’s just a matter of San Diegans noticing the aroma of coffee on their morning commute and sensing the music within. However, after only two weeks, a significant number of the 1,831 seats remained unoccupied in the venue.

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2024-10-19 16:31

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