What Moses Imposes
New York City Opera's Ariodante: Elegance, balance
Some ink has been spilled over the new electronic equipment recently installed in the State Theater to correct certain long-standing acoustic problems. Management has taken great care to describe the installation not as "amplification" (a four-letter word in critical circles, more appropriate to the brutally cranked-up sound in Broadway theaters) but as "enhancement." So far the response has ranged from "okay" to "can't hear the difference." Having no memories of State Theater acoustics for the past few years, I can only report that the sounds I heard in Handel and Rossini were bright, clear and nicely balanced between stage and pit. One chorus in the Handel was sung offstage and piped into the hall; it sounded canned, as indeed it was. Everything else in the performance sounded alive and fresh, as indeed it was.
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