Petrarca Theatre: A case study to identify the acoustic parameters trends and their sensitivity in a horseshoe shape opera house

Mazzarella, Livio; Cairoli, María

doi:10.1016/j.apacoust.2018.02.018

Cited by 15 publications

(7 citation statements)

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“…Finally, measured impulse responses are used for the calculation of the room acoustic parameters. Unfortunately, a lot of public and private theatres and their intangible cultural heritage, i.e., the acoustics, were devastated and demolished during past fires, wars, and natural disasters [8][9][10], such as for Eszterháza Opera House, a theatre built by Prince Nikolaus I Esterházy was destroyed during the Second World War. For this reason, computer simulation became an essential tool for the reconstruction of the acoustic field of ancient and destroyed theatres.…”

Section: Introductionmentioning

confidence: 99%

Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research

2020

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The Eszterháza Opera House was a theatre built by the will of the Hungarian Prince Nikolaus Esterházy in the second half of the 18th century that had to compete in greatness and grandeur against Austrian Empire. The composer that inextricably linked his name to this theatre was Haydn that served the prince and composed pieces for him for many years. The Opera House disappeared from the palace complex maps around 1865 and was destroyed permanently during the Second World War. This study aims to reconstruct the original shape and materials of the theatre, thanks to the documents founded by researchers in the library of the Esterházy family at Forchtenstein, the Hungarian National Library, and analyze its acoustic behavior. With the 3D model of the theatre, acoustic simulations were performed using the architectural acoustic software Ramsete to understand its acoustical characteristics and if the architecture of the Eszterháza Opera House could favor the Prince’s listening. The obtained results show that the union between the large volume of the theatre and the reflective materials makes the Opera House a reverberant space. The acoustic parameters are considered acoustically favorable both for the music and for the speech transmission too. Moreover, the results confirm that the geometry and the shape of the Eszterháza Opera House favored the Prince’s view and listening, amplifying onstage voices and focusing the sound into his box.

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Section: Introductionmentioning

confidence: 99%

Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research

2020

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“…The survey has been carried out in accordance with the standard requirements outlined by ISO 3382-1. 30 –33…”

Section: Acoustic Measurementsmentioning

confidence: 99%

“…This signal elaboration has been carried out with Plogue Bidule (www.plogue.com), another audio editing software employed with a plugin suitable for Sennheiser.The excitation signal to measure the RIR was an exponential sine sweep (ESS), having a frequency band ranging between 40 Hz and 20 kHz. The survey has been carried out in accordance with the standard requirements outlined by ISO 3382-1 [30][31][32][33].…”

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confidence: 99%

How a quartet of theatres plays under an acoustic perspective: A comparison between horseshoe shaped plans in Campania

et al. 2022

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Many of the Italian Opera theatres built in small towns have not been deeply studied under an acoustic perspective compared to the most famous ones. This paper focuses the attention on small-sized theatres characterized by a horseshoe-shaped plan layout. The determination of the acoustic properties has been outlined by performing acoustic surveys inside each theatre. By analyzing the measured data, the results show comparable outcomes found inside the selected halls, with a negligible difference among them. Overall, all the four theatres have a good speech response, ranging between 0.60 and 0.74 in terms of sound transmission index (STI), with a small merit attributed to Benevento. These considerations should be combined with the sound perception with regard to the music performed inside these theatres. A trade-off between these two aspects has been well matched by the architects who were in charge to design these memorable places that nowadays are still impressive although not so many spotlights are given to them.

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“…The excitation signal was an exponential sine sweep (ESS) having a frequency range between 40 Hz and 20 kHz [17,18]. The acoustic measurements were performed without the presence of an audience (in unoccupied conditions) [19] and without any scenery mounted [20]. From Figure 10 it is possible to see that all the element surfaces have been drawn as flat planes, which provide a simplification even to the complex architectural decorations that, otherwise, cannot be handled by the raytracing software.…”

Section: Measurementsmentioning

confidence: 99%

“…To obtain a complete description of the spatial sound propagation, acoustic impulse responses have been measured by paying attention to all of the features and properties that characterise this place, including the resonance box below the orchestra pit. This paper aims to analyse the acoustical parameters extracted from the measurements and the virtual simulations for each of the three different configurations [4,5]. In addition, the effects produced by the two selected sceneries have been compared with the simulation obtained without any scenery.…”

Section: Introductionmentioning

confidence: 99%

Acoustic study of different sceneries at the São Carlos national theatre of Lisbon

Tronchin

Bevilacqua

2021

Applied Acoustics

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Petrarca Theatre: A case study to identify the acoustic parameters trends and their sensitivity in a horseshoe shape opera house

Cited by 15 publications

References 1 publication

Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research

Acoustic Reconstruction of Eszterháza Opera House Following New Archival Research

How a quartet of theatres plays under an acoustic perspective: A comparison between horseshoe shaped plans in Campania

Acoustic study of different sceneries at the São Carlos national theatre of Lisbon

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