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
I couldn’t agree more with the OP.  After every Concert I am always struck by the gap in realism between my systems and the real thing.
   Eventually I come to realize that the “Absolute Sound” criteria is ridiculous.  Audio is essentially a conjurer’s trick-trying to trick us into believing that I am hearing the real thing.
  Since I am not some 18th Century Hungarian Prince, I can’t afford to have my own Orchestra and Concert Hall.  So I have to settle for the conjurer and constantly try to tweak it.  It is salutary to listen the real thing occasionally...I hope soon...to be reminded of the guy behind the curtain 
@frogman 
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.
These points seem opposed. If it's obvious that a recording is not realistic, why is it surprising that some are willing to give up seeking realism? Can you explain what you mean by realism? It must be more nuanced than this, or it would seem foolish to seek something which is obviously not there.

@millercarbon said:
"Another time, sitting a lot closer more like center floor 10-15 rows back, that I could not do. Not then. Now? Different story. So nowhere near easy, but you can come awfully close. Come and listen. You will see."

This is what I referred to as the "Disney experience." It seems like MC achieved it and that it represents, for him, the ideal kind of realism. (Or perhaps the only kind of realism!) This is interesting both as a factual accomplishment and as the audio ideal for someone involved in the hobby for so long.
@rwisem concurs with this ideal as the one he/she is seeking.
@clearthinker hits the nail on the head with the key element in this -- the "massed violins" problem. (I would add that another possible indicator is distinct instruments, properly located, in the string bass section.)

Of course, if one closes one's eyes in a symphony to hear what standard their home setup should meet, then they're probably not closing their eyes in jazz clubs very often; nor are they listening to heavily produced music, either. Of course in film, this would translate as a very odd penchant for handicam documentaries -- no Spielberg or animated or other movies would be worthwhile because the sense of "realism" would be lost.

But that last point is probably countered by this one, namely that if a system can reproduce something like a symphony orchestra with seductive literalism, then it can easily play Steely Dan. That would be a fair point, I'd guess, but I don't know what those who *don't* care about realism would say.

But then there's @ghdprentice who reports that he actually upgraded his system and "lost the fidelity" while his "new system is much more musical for other types of music." Ok, so much for that last point about a literalistic system being able to do everything.

hilde45, they are not opposed at all.  So, you are suggesting that since absolutely perfect realism cannot be achieved that one shouldn’t at least try to get a good part of the way there?  For me, realism means correct (or, as close to it as possible) reproduction of the timbre of instruments (tone and texture) and nuanced dynamic expression.  Soundstaging effects come in a distant third in my order of priorities; they may be more important to others; but, for me those have little to do with the musical content.  It is obvious to me that some pieces of equipment and/or combinations of equipment do a much better job of reproducing timbre and subtle dynamic changes than do others.  So, according to you, since perfection in those areas can never be achieved one should simply not bother at all and throw in the towel.  Makes no sense to me.  Although, this would explain why some systems that I have heard sound so bizarre and so far removed from the sound of live music.   
@frogman I didn't suggest that. (Please show me where I did!) I asked you for more nuance on what you mean by realism -- and you provided it. I appreciate your additional thoughts. I agree with you that asking for complete and perfect realism isn't the way to go, and my comments thoroughly convey that in my posts, so if I misspoke, please forgive me. 
It should be pointed out if you could recreate the actual event of an orchestra in your home someone would likely call the cops over the noise. A reasonable scaled down facsimile is all anyone needs in the home.