In the Sussex countryside near Lewes in England, the Glyndebourne Opera House has furthered its international reputation for presenting world-class opera with an upgrade of the sound system in its auditorium. EM Acoustics’ flagship Reference Series loudspeaker system is at the heart of the project.

The prospect of introducing amplification to performances is often seen as a threat to the authenticity of opera. But while opera is fundamentally an acoustic art form, modern productions and programming schedules demand creative flexibility. The new system at Glyndebourne enables sound effects, pre-recorded elements and subtle reinforcement to be brought into the acoustic space where required.

‘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 Glyndebourne Head of Sound & Video, Jonathan Moss. ‘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 now and in the future.’

Moss has worked with EM Acoustics products for more than 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,’ he says. ‘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.’

With the decision to go for a full EM Acoustics solution made, Moss worked 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,’ he says. ‘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 sound system 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 maximise resonance. Four R8s are hung on a round from the ceiling, with four S-218 subwoofers 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,’ Moss says. ‘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.’

The upgrade of the sound system not only brings creative flexibility but also the improved operational efficiency, particularly given Glyndebourne’s packed rehearsal and performance schedule. 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. And when someone doesn’t notice it’s amplified, it means we’ve succeeded in keeping the magic of opera alive. That is the biggest compliment we can receive.’

The integration of EM Acoustics at Glyndebourne is an example of how innovation can coexist with tradition. By embracing the right technology and integrating it with care, the venue has expanded its creative toolbox and the scope of its productions. ‘This has really upped the stakes in what we can do here at Glyndebourne,’ says Moss.

More: www.emacoustics.co.uk