High expectations when listening to an orchestra


If you listen to an orchestra and expect to hear the real thing, you’re certain to be disappointed.
There’s no way you can come close to that experience  with your equipment.  An orchestra in your listening space is an impossibility. Therefore you have to adopt a “suspension of disbelief.”  In other words, trick yourself into believing it’s the real  thing.  You have to bring your imagination to the equation.
The degree to which you can suspend your disbelief, will determine how much enjoyment you get.
Of course, the better the quality of your equipment, the closer you will come.
With lesser forces than an orchestra, such as a few instruments or solo instrument or voice, the easier it becomes to approach reality.
rvpiano
You have to understand the issues and differences between the two events ("Live" VS "Memorex") and adjust your attitude and make allowances beforehand.
In short, you must Pre-Tend.
Your skill at pre-tending is what makes you a "Gifted Listener".
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We listen to the art of recording, nothing more. It is not a live music experience. 
I’m tempted to ask: “And this is news?”

I guess I just did. Of course it won’t sound like the real thing. Who would expect that it would? It’s a recording. I do, however, find it surprising that some are so willing to give up and not strive for as much realism as possible. A good orchestral recording can do a pretty darn good job of conveying the musical content; if not all of the sonic fireworks as heard live.

**** Have you ever heard a 12-year-old, who cannot reach the pedals without a booster play Gershwin’s Rapsody in Blue so well that you want to throw every version in your collection away? These kids are astounding. ****

No. I agree, some of these kids today truly are astounding....for their age. But, play so well that they make me want to throw away every version in my collection away? Throw away my Previn/London? Or, my Thibaudet/Baltimore? Or, Bernstein/NY? Or......? Not a chance in hell. Of course, if the sound of the recording were more important to me than the playing, then yes. Thankfully, superlative playing can easily survive the inevitable sonic compromises of the recording.
Not all the time, I have heard exceptions.
I had an experience when I went to a Beethoven IX. The performance was very disappointing, so I spent the entire time in critical mode listening, to auditory details that we do when listening to gear critically. After the performance I went home by the straightest route and put on immediately Ferencsik's performance of Beethoven IX on my setup.
Ferencsik bettered the live experience by quite a bit. I was surprised to get similar dynamics, detail level, freq extension, imaging - you name it. Plus, a MUCH BETTER conducting and interpretation.
I think that's the point of recorded music, to take you where the present might not.But do not expect that to happen all the time, that was a rare event.
Happy time travels;