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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
3
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
magnicent 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
a
c
e
a
b
d
f
b
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 specied [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
30
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 coefcients 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
30
and T
15
).
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 signicant-
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 inuence 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
a
a
b
b
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 conrmed
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 specication
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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[9] Szuliński J., Teatr Miejski we Lwowie, Warszawa, „Neriton”, 2002,
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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
3
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