??? My First Classical Concert,What Can I Expect ???

Stay out of the mosh-pit.  They will have their way with you in there.

@immatthewj “Stay out of the mosh-pit” …. We all now know what kind of concerts you go to.

@thecarpathian ”Where was the article quoted above” ??

No article….. just my own hearing experiences at The Royal Albert Hall. My own visits to the venue over the last 50 years. I am not a Londoner so have to travel as l live in the “Wild West” in the UK…..… yee haa!

So this reply is mainly directed to “thecarpathian”

Those visits comprise a dozen or so symphonic concerts, a few rock/pop and several Cinematic film showings with a full live orchestra. I have sat high up on all sides of the arena, plus first tier, stalls, “Loggia” boxes and “the choir” areas to the sides behind the orchestra. The “choir” was interesting as you get to see the conductor and observe all the musicians. The most interesting part seated there for me was watching the percussionists do their thing. They are normally buried behind everybody else. I heard plenty of echo except for the extreme rear areas (like you commented) as you at least avoid the back echo. The downside is, you don’t get a good view…just matchstick men. The Loggia boxes to the sides are the most comfortable with little reverb and echo but the orchestra sounds mellow and directionless…..like living in your own world wearing headphones and detached from the whole collective, shared experience with a large audience.

So that’s my view and take on the RAH sound. A bit of trial and error to find a good spot to book your seats. I found the Stalls nearer the front for the best overall enjoyment with a more two (not multi) channel stereo.

I attended the 2003 Ennio Morricone concert but he settled on other venues like the Rainbow and O2 later. I don’t know if that was a conscious decision but l know of no recordings from that event that have ever materialised on CD or DVD. A few records were released on Polydor of the yearly Filmharmonic concerts with The London Philharmonic Orchestra, and they all sound awful, directionless and diffuse.

Jerry Goldsmith found no difficulty recreating the original soundtrack “echoplex delay” trumpet effect (from the film Patton) at the RAH…. There was plenty of echo inherent already. Those who know the music appreciate the trumpet echo effect of past battles in Pattons mind. His triumphant feeling of destiny, his belief that he was a reborn soldier from distant history. It was interesting for me to experience what the composer did to play the same piece of music at The Barbican. He sent two trumpeters up to the back of the hall to play the echo to achieve the same effect.

I think that says it all

about the Albert Hall

Maybe..…I am a poet

and, l didn’t know it?

One things for sure

Heard it all before…

Like you said, Sir Thomas Beecham said, you will hear your performance more than once.

l hope all this was useful to those out there who are interested in concert hall acoustics.

@mylogic ,

Think you have the wrong guy!

Ah yes @thecarpathian l stand corrected.

It was meant a reply for @richardbrand 

@mylogic 

The article I quoted was in the post above from @horn13 

https://www.classicfm.com/discover-music/where-is-the-best-place-to-sit-in-the-concert-hall/

Interestingly one of the worst positions with a big orchestra (around 100 players - six times more than the baroque ensembles needed for the Brandenburg Concertos) is where the conductor normally stands.  It is far too close to the front desks, which overpower more distant players. Our Australian Mahler specialist Simone Young would move around the empty auditorium while the orchestra was on 'auto-play' to try to work out the balance she wanted for the audience.  But as soon as the venue fills with people, its acoustics change.

I have never been to the acoustically designed Symphony Hall in Birmingham, but my understanding is that its inner structure floats on rubber isolation blocks.  Huge adjustable 'hangar doors' open to the outer space, allowing the hall reverberation to be fine tuned to suit the musical program.

If I ever visit Europe again, Copenhagen 's newish DR Koncerthuset will be a must visit along with the Berliner Philharmonie;

Not to mention the biggest wooden building in the world - Wagner's temporary hall in Bayreuth, the Festspielhaus, which is now almost 150 years old.  The hall demonstrates Wagner's intention that the sound should be blended, and some say foreshadows Phil Spector's Wall of Sound.  The entire orchestra in the Festspielhaus is under the opera stage and out of sight of the audience.  Good luck pin-pointing instruments there!