Susan Juhl asked if anyone attended opening night at Disney Hall.  I
didn't, but Ron Streicher did.  Ron is the author of what Jerry Bruck,
Mahler expert and noted recording engineer, calls "arguably the best
book on stereo recording and replay theory and practice ("The New Stereo
Soundbook, 2nd Edition").  He has long been in charge of the Recording
Department at the Aspen Music Festival, and is currently the President
of the international Audio Engineering Society, the pre-eminent professional
society in that field." Here's what Ron had to say about it, and about
the performance of Mahler 2, on another list, posted here by permission
of both Jerry and Ron:

   WOW!

   Tonight's performance of Mahler's Symphony No. 2 by the LA
   Philharmonic and massed forces, conducted by Esa-Pekka Salonen,
   has answered almost all of the questions I posed in my previous
   e-mail message.  Disney Hall is indeed a sonic marvel -- not
   perfect, but damn near.  Yes, there is a problem with definition
   from the percussion at the rear of the orchestra, but the sense
   of clarity and vitality of the whole of the ensemble is perhaps
   the best I have ever heard anywhere!  Tonight, from my seat just
   left of center in the Terrace level, I heard inner voices and
   detail in this work that I have only noticed previously when
   following the score.

   The Mahler 2nd offers a wealth of listening opportunities: the
   solo and/or intricately intertwined winds, the massed brasses,
   the extremely wide dynamic range of the scoring, the onstage/offstage
   call-and-response of the horns, trumpets, winds, and percussion,
   and of course the most glorious choral entrance in the whole of
   the symphonic literature.  Tonight's performance did not disappoint
   in any of these respects.  (Except, perhaps, that Disney Hall's
   pipe organ is about a year away from completion, so we had to
   make do with an electronic substitute for the finale.)

   The offstage horns emanated as if by magic from behind the walls,
   with an ethereal sound that I have not experienced before in
   this piece.  The other offstage instruments were more discernible,
   coming through several open doors; I would have preferred if
   they, too, had been a bit lest obvious.  The choral entry was
   sublime, enveloping the hall with a richly textured hush that
   may have been a bit too loud, but was nonetheless stunning in
   its beauty.  The soprano solo floated above them nicely, although
   I also would have preferred that she be singing from within the
   choir, rather than from the front solo spot.  (Picky, picky...)

   The softest orchestral passages were just that: soft, yet clear
   and precise.  At the other extreme, the loud Mahlerian climaxes
   bloomed and filled the hall without distortion or overloading
   the space.  (Think of a sonic Jacuzzi!) Everything was clear --
   again, except for the percussion which although they could be
   heard easily (it's not a problem of intensity of sound) -- did
   not have any real sense of presence or definition.  I suspect
   this may be because they are situated directly in front of the
   choral balcony, so there is no large reflecting surface behind
   or above to project them as would be the case in a "typical"
   stage shell.

   Throughout it all, Salonen reveled in the majesty and elegance
   of the sound and the music.  No complaints here.  My first Mahler
   2nd was with Zubin Mehta and the LA Phil; then Mehta again and
   subsequently MT2 with the Philadelphia Orchestra, Lawrence Foster
   in Aspen, a few others in between, and most recently David Zinman
   again in Aspen.  I truly have been blessed.  Ron Streicher

Mitch Friedfeld