Glyndebourne Opera House Upgrades its Sound System with Support from EM Acoustics

	Photo: Bill Cooper. Glyndebourne Productions Ltd.

Glyndebourne Opera House's decision to upgrade the sound system in its auditorium marked a milestone moment for opera enthusiasts. EM Acoustics' flagship Reference Series is at the heart of the story.

For centuries, opera houses have adhered to a strict tradition of acoustic performances without amplification. Orchestras comprising anywhere from 60 to 90 musicians and top-tier singers with choruses of up to 50 people rely solely on the opera houses' architecture to balance and project sound. The thought of introducing amplification is often seen as a threat to the authenticity of opera. While opera is fundamentally an acoustic art form, modern productions and programming schedules demand creative flexibility. The new system enables sound effects, pre-recorded elements or subtle reinforcement to be brought into the acoustic space seamlessly. The upgrade of the PA system at Glyndebourne reflects the need to expand artistic possibilities while preserving the integrity of traditional opera, the company says.

"When we first initiated this project, we needed to strike the right balance, and getting all the stakeholders on board with the idea took some time," explains Jonathan Moss, head of sound and video at Glyndebourne. "It was important to respect and honor the traditions, while also ensuring we chose a sound system capable of providing us with a sophisticated toolbox to meet the demands of modern productions now and in the future."

Moss has worked with EM Acoustics products for over a decade across various venues, and for him, the Reference Series stood out for the clarity and transparency of its sound. "There's nothing else on the market that could compete with the Reference Series. It is truly the only PA that had a chance of winning over all of our stakeholders."

The choice of EM Acoustics was also influenced by the company's collaborative approach. "They're incredibly supportive, hands-on and open to feedback," says Moss. "With EM Acoustics, we have direct access to the people designing the loudspeakers, ensuring the system meets our sometimes quite particular needs."

Once the decision was made to go for a full EM Acoustics solution, Moss worked closely with the EM Acoustics team to choose the right models. Discussions around headroom once again proved to be about striking a balance. "We knew we didn't need the biggest boxes, but after much deliberation, we went with the R12s because the frequency response is optimal, and therefore, we need less from the subs," says Moss. "We've got so much headroom, we will rarely use the boxes that hard, so the output is effortless, which helps it to sound so natural." The look of the Reference Series loudspeakers also fit with Glyndebourne's requirement for subtlety, blending easily into the auditorium thanks to their slim form-factor and matte finish, the company says.

The sound system at Glyndebourne has been meticulously designed to complement and take advantage of the venue's unique acoustics. The proscenium PA includes six R12s and two R8s, with two permanent R12s positioned upstage for sound effects. Two R10s and two S-215s are mounted on the balcony for immersive sound effects, using the room's acoustics to maximize resonance. Four R8s are hung on a round from the ceiling, while four S-218 subwoofers are installed underneath the auditorium. A total of nine DQ20 amplifiers and a range of deployable speakers complete the system. The entire foldback system is also EM Acoustics, enabling the orchestra to be played back on-stage for performers.

"What we've built at Glyndebourne is perhaps not how you would expect an auditorium system to be set up," continues Moss. "It is a difficult room for a PA, so we needed to be creative, but also keep the loudspeakers as invisible as possible. We've used the technology and shape of the room to design a system that uses the acoustic principles of an opera house and gives it a modern spin."

With only three or four orchestral rehearsals per production, the ability to react swiftly to artistic needs is invaluable. "Knowing we have that toolkit there makes previously impossible things achievable," says Moss. "It's a comfort blanket for us to be able to react to ideas and experiment more, or make quick additions or changes to the production during rehearsals. It saves a lot of time."

The changes have been met with overwhelmingly positive feedback from creative teams. "When someone doesn't notice it's amplified, it means we've succeeded in keeping the magic of opera alive," says Moss. "That is the biggest compliment we can receive."