WELCOME mondo*dr 21.6 September / October 2011
ON THE COVER Helsinki Music Centre Photo by Arno de la Chapelle
General Manager
Justin Gawne /
j.gawne@
mondiale.co.uk Editor - EMEA
Michael Nicholson /
m.nicholson@
mondiale.co.uk Editor - APAC
Rachael Rogerson /
r.rogerson@
mondiale.co.uk Advertising Manager
Curtis Campbell /
c.campbell@
mondiale.co.uk Marketing / Circulation
Laura McLaughlin /
subscriptions@mondiale.co.uk Accounts
Amanda Giles /
a.giles@
mondiale.co.uk Production
David Bell, Mel Robinson, Dan Seaton
Group Chairman Damian Walsh
Mondiale Publishing
Waterloo Place, Watson Square, Stockport SK1 3AZ United Kingdom Tel: +44 161 476 8340 | Fax: +44 161 429 7214
Annual Suabscription Rates (7 Issues) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 2 year rates are available on request. Subscribe online at
www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067
Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom
Subscription records are maintained at Mondiale Publishing
Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom
mondo@mondiale.co.uk www.mondodr.com
Printed by Buxton Press, Palace Road, Buxton, UK
Michael Nicholson Editor - EMEA
If you haven’t had a chance to read Byron Harrison and Ian Hoffman’s theatres and concert halls article from the last issue, I urge you to do so. It is a piece of writing that I think I’ll re-visit quite regularly. In it, they discuss some of the key venues and their significance in the evolution of auditoriums over the last 400 years. With this issue, I think we have the perfect follow on. I’m talking specifically about Mel Lambert’s excellent feature on New World Center and the Helsinki Music Centre piece - both venues have the hallmarks of a lasting historical footprint. And I’m also talking about Tallinn’s Nokia Concert Hall. In Byron and Ian’s article they talk about the development of electro- acoustic technologies, something that has been prevalent since the 1950s. I can only imagine that the first systems were a little crude, in a modern context I’d certainly expect them to be. But in this day and age, when it seems that pretty much anything that can be manipulated by computer is possible, we should be masters of electro-acoustics. And it seems we are, or at least some of us are. The attraction of electro-acoustics, in the main, is multi-functionality. Changing what a space does naturally to answer a particular need. When a new theatrical venue is being proposed for a town or city, it is more often than not done with multi-use in mind. It makes sense. And if it means that an area can have a first class performing arts venue, commercially viable because of its different guises, it has to be considered. But then there’s the matter of compromise; the skeleton key solution for what are very different performing arts. On the evidence I heard on my visit to Estonia’s capital, the compromise gap is smaller than it has ever been. I witnessed a brilliant Russian State Philharmonic Orchestra performance in an auditorium that has an acoustic reverberation time designed for rock music. In my book, that’s pretty clever. But, alas, Tallinn in early summer seems like a long time ago now, especially as our attentions turn to PLASA, and the subsequent flurry of tradeshow activity that will take us around the globe and into the realms of the next exciting project. We might cover a theatre, nightclub, live venue, casino or sports stadium, who knows? The attraction of mondo*dr, in the main, is its multi-functionality. And the big pictures, of course. I hope you enjoy the issue.
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