GL YND EB OU RN E EM EA
LEWES / UK
His tor ic op e r a h o u s e u pg r a de s i ts s ound s y s t e m w i t h s u pport f r om EM Ac o u s t i c s i n a m i l e stone pr oject th a t c o m b i n e s i n n o v ation w ith tr a d it i o n .
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V E N U E - E M E A | WWW.M O ND O D R .CO M
Nestled in the idyllic Sussex countryside near Lewes, Glyndebourne is renowned for its commitment to excellence and innovation. With a rich legacy of presenting world-class opera, the venue upholds a tradition of acoustic purity that defines the opera experience. Therefore, Glyndebourne’s decision to undertake an upgrade of the sound system in its auditorium marked a milestone moment for opera enthusiasts, and 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. After all, opera has long been understood as the art of singing 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 seamlessly brought into the acoustic space. The upgrade of the PA system at Glyndebourne reflects the need to expand artistic possibilities, whilst preserving the integrity of traditional opera. “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,” explained Jonathan Moss, Head of Sound and Video at Glyndebourne. “It was important to respect and honour the traditions, whilst also ensuring we chose a sound system capable of providing us with a sophisticated toolbox to meet the demands of modern productions, both now and in the future.” Moss has worked with EM Acoustics products for over a decade across