Aspekty akustyczne użytkowania sali widowiskowej opery we Lwowie

2010

Nr 2(28)

Introduction

For over one hundred years, the Lviv Opera (Ukraine) has

been intensely used for theater, opera and ballet performanc-

es. Performers appreciate its interior for its exquisite appear-

ance which is the result of great design and rich decorations

as well as acoustics which make it possible for the sound to

be heard very well both in the auditorium and on stage. Due

to the building’s technical deterioration, it was necessary to

renovate it and restore some of the elements of its decor and

Roman Kinash*, Tadeusz Kamisiński*

**,

Adam Pilch*, Jarosław Rubacha*

Acoustic aspects of the Lviv Theatre of Opera and Ballet auditory usage

consequently its original splendor. The modernization which

was conduced in the 1980s was not positively received by

the performers as the building’s interior acoustics for sym-

phonic music decreased. In order to avoid the same mistakes

during the modernization of the hall in 2008, the authors of

this paper were asked for acoustical consultations. As a result

of detailed tests and analyses it was possible to maintain the

acoustic features of the theater.

Description of the building

Lviv State Academic Opera and Ballet Theatre of

Solomiya Krushelnitska (Lviv Opera) is a special build-

ing, very important for Lviv architecture and culture. It

was designed by Zygmunt Gorgolewski – one of the best

architects at that time (Fig. 1, p. 246). The construction

works, which were supervised by Gorgolewski, lasted for

three years [9]. The City Theater in Lviv was built during

the theater construction boom in Europe. It demonstrates

a synthesis of the achievements in theater architecture and

technology. The grand opening night was on October 4,

1900 with great guests such as directors of the most fa-

mous European theaters and a lot of artists.

The theater features the Italian Renaissance details

with classicistic elements [3, 10]. The Opera’s auditorium

has 4374 m

and 1050 seats. The stage section is equipped

with advanced technology with moving platforms (hy-

draulic elements were manufactured by Polish railroad

factory in Sanok).

Over the last few years, after a period of neglect, the

building has been successively renovated and its original

magnicent auditorium has been restored with the use of

modern technology. In 1980, the rst modernization was

conducted. It included a replacement of the metal construc-

tion of the oor with concrete oor covered with pinewood

boards on joists (Fig. 2, p. 246). At that time the boxes were

decorated with lambrequins, which negatively affected the

acoustics of the hall. Artists complained that the voice and

music performed in the theater sounded more dull, which

was caused by an increased absorption of high frequencies

by soft elements. Due to the lack of acoustic documentation

from that time it is impossible to objectively determine the

impact of the rst renovation on the interior acoustics. In or-

der to eliminate the possibility of negative impact of the next

modernization on the acoustics, their test was commissioned

before the commencement of the renovation. The replace-

ment of oors and renovation of the interior was scheduled

to be conducted during the summer break in 2008 [8].

In order to maintain the acoustic parameters of the reno-

vated hall, acoustic tests were conducted before moderniza-

tion to determine a frame of reference as well as the parame-

AGH University of Science and Technology, Cracow.

Lviv Polytechnic National University.

250 Roman Kinash, Tadeusz Kamisiński, Adam Pilch, Jarosław Rubacha

Fig. 1. Sections and plans of individual oors of the theater [9]: a) cross section; b) longitudinal section;

c) ground oor plan; d) rst oor plan; e) second oor plan; f) third oor plan

Fig. 2. Replacement of oor construction in 1980: a) view of disassembled oor construction; b) oor construction metal I beams

Acoustic aspects of the Lviv Theatre of Opera and Ballet auditory usage 251

ters which as requested by the investor should be maintained.

Laboratory tests of the selected interior decor elements to

be replaced such as oor boards, carpets, and lambrequins

were done. Important tests included the measurements of dy-

namic properties of oor samples with different layers. The

natural frequencies of the oor layers were measured and the

oor assembly method assuring the best sound-absorbing

qualities was specied [5]. It was found that the solution

planned by the investor, consisting in laying oak parquet on

pinewood boards would decrease the acoustics of the hall. It

was suggested that the boards be replaced with thin plywood,

decreasing the gap between parquet and the reinforced con-

crete slab and sound dispensers be installed on the back wall

of the cavity under the balcony [7].

Fig. 3. Replacement of oor construction in 2008:

a) oor joists placed on reinforced concrete oor; b) parquet oor boards on plywood and joists

Fig. 4. The Lviv Opera – real and simulated average value of the reverberation time T

depending on frequency:

a) measured; b) from computer simulation

Test of the hall’s acoustics

The modernization of the hall included among others

a replacement of the structure of the oor, armchair up-

holstery, lambrequins, carpets and renovation of interior

decor elements. The works regarded the key elements

creating the acoustic elds of the Theater so they needed

to be designed in such a way as to improve the acoustic

parameters of the interior.

In order to establish a frame of reference for possi-

ble changes in the acoustics, acoustic measurements of

the hall were conducted in its original condition [4]. By

selecting the sound absorption coefcients correspond-

ing to the materials used in the hall a model was adapted

to the acoustic compliance with the results of the tests in

the scope of selected acoustic parameters (T

and T

A simulation was made with the use of CATT-Acoustic

v.8.h computer program.

Analysis of the diagram in Fig. 4a demonstrates that

the reverberation time characteristics have not signicant-

ly changed after the renovation, however, the slight differ-

ences which have been detected between the characteris-

tics are within expected tolerance. The correct selection

and application of the oor layers, carpets and lambrequins

had the most evident inuence on the maintenance of the

original acoustics of the hall after modernization. The val-

ues measured before and after modernization as well as the

results of the simulation of the parameters are very similar

252 Roman Kinash, Tadeusz Kamisiński, Adam Pilch, Jarosław Rubacha

and they fall within the scope marked in Fig. 4b. of the

values recommended for opera halls, so it was possible to

assume that the acoustics of the renovated interior would

be positively received by the performers and listeners. The

measurements conducted after modernization conrmed

the correct selection of new materials and the compliance

of the numerical model with reality. The positive reception

of the acoustics of the renovated interior by the performers

and listeners enabled the nal determination of the correct-

ness of the measurements and the simulation.

It should be noted that the shape of the reverberation

time characteristics in opera halls should be as close as

possible to the horizontal line [1] and [2] so all design and

execution activities were aimed at achieving these param-

eters. In this context it should be also noted that all soft

elements additionally introduced to the auditorium space

adversely affect the characteristics to decline more. The

authors suggested to the investor eliminating the lambre-

quins and the carpets from the auditorium space to ex-

tend the reverberation time to high frequencies. However,

the activities aimed at improving the acoustics of the hall

were not in line with the conception of the interior de-

cor and they were rejected. After the analysis of the tests,

a replacement of sound-absorbing with sound-dispersing

material in the cavities under balconies and boxes was

suggested in order to additionally improve the acoustic

parameters of the whole hall.

Figure 4 shows the real/measured (4a) and computer

simulated (4b) average values of the reverberation time

T30 for the auditorium of the Opera. Fig. 4b shows also

the method of assessment of the reverberation time char-

acteristics developed for the opera interiors with rich dec-

orations [6]. The theater interiors designed on a horseshoe

plan with carpets, lambrequins and rich upholstery dem-

onstrate shorter reverberation time than it is assumed in

literature for theaters. Figure 5 shows a simulated distri-

bution of STI parameter in the auditorium before and after

modernization. An improvement of the speech transmis-

sion quality in the middle section of the auditorium on the

ground oor is evident. A decisive majority of the seats

in the auditorium has STI parameter within the scope of

good speech transmission.

Fig. 5. The Lviv Opera. Computer simulated distribution of STI parameter in the auditorium (without audience):

a) before modernization, b) after modernization

a b

Final notes

The natural acoustics are extremely important in every

concert hall, opera or theater. Poor audibility makes it dif-

cult for the performers to perform and for the listeners to

enjoy listening. That is why if the acoustics of any interior

co-create the artistic message, it should be considered a pri-

ority. As a result of great commitment of the management

of the Lviv Theater, it was possible to appropriately execute

the modernization. The acoustic tests before and after mod-

ernization as well as the model and simulated tests enabled

the determination of reference conditions and specication

of the objective to be achieved. With the use of multi-var-

iant simulations, measurements and precise workmanship,

it was possible to achieve the assumed acoustic conditions.

The objective measurements were supported by a positive

reception among the performers and listeners, which con-

rms their reliability. Further improvement of the acoustics

by eliminating soft elements is impossible, and that is why

cladding the back wall with sound-dispersing materials was

suggested in order to improve the audibility in the section

of the auditorium under the balconies.

Acknowledgments

This article was prepared within the scope of statutory work of Faculty of Mechanical Engineering and Robotics, AGH University of Science

and Technology No. 11.130.859.

Acoustic aspects of the Lviv Theatre of Opera and Ballet auditory usage 253

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Aspekty akustyczne użytkowania sali widowiskowej opery we Lwowie

Lwowski Narodowy Akademicki Teatr Opery i Baletu im. Salomei

Kruszelnickiej jest szczególną budowlą, zajmującą ważne miejsce w ar-

chitekturze i kulturze Lwowa. Obiekt zbudowany w 1900 roku zapro-

jektował Zygmunt Gorgolewski, jeden z najwybitniejszych ówczesnych

architektów. Widownia posiada kubaturę 4374 m

i mieści 998 osób.

Budynek jest sukcesywnie remontowany, zaś sala jest doprowadzana do

pierwotnej świetności. W celu zachowania parametrów akustycznych

sali, w trakcie prac modernizacyjnych prowadzono bieżące ekspertyzy

akustyczne. Przeprowadzono wymianę podłóg i elementów wystroju

wnętrza. W celu zachowania parametrów akustycznych remontowanej

sali wykonano badania laboratoryjne wybranych materiałów wystroju,

takich jak: deski, dywany, lambrekiny i elementy tapicerki. Wykonano

również badania akustyczne sali widowiskowej przed wykonaniem

prac renowacyjnych, w trakcie oraz po zakończeniu. Po analizie badań

można stwierdzić, że charakterystyka czasu pogłosu po remoncie nie

uległa istotnym zmianom. Zwrócono uwagę na wnęki podbalkonowe

parteru i loże, gdzie istniałaby możliwość zamiany wybranych okładzin

dźwiękochłonnych na rozpraszające, co korzystnie wpłynie na wybrane

parametry akustyczne sali.

Key words: Lviv, opera house, acoustic aspects Słowa kluczowe: Lwów, opera, akustyka

Aspekty akustyczne użytkowania sali widowiskowej opery we Lwowie

Roman Kinash, Tadeusz Kamisiński, Adam Pilch, Jarosław Rubacha

Streszczenie