A Place for New Music: A Discussion on Concert Hall Venues
FRANK J. OTERI: There are so many venues that won’t even let the performers in until the day of a concert. How much time ideally should a performer have in a space before giving a concert there?
COLETTE DOMINGUES: I try and create the day of from ten in the morning until the time of the performance, sometimes it works, sometimes it doesn’t, but that’s what my ideal time is. It would be spectacular to have the day before but, you know, budget funds don’t allow.
LIMOR TOMER: Yeah, I mean, absolutely, if a group or a performer can spend some time getting adjusted and understanding the space, that is really important, but just having the resources to rehearse so that we get to hear the actual piece, not the potential of the piece.
RUSSELL JOHNSON: We’re mixing up all kinds of music.
COLETTE DOMINGUES: Yes.
RUSSELL JOHNSON: But I’ll go to the Conservatoire in Paris, when the Beethoven Fifth was first played there, the orchestra rehearsed for fifteen solid months before they asked the audience to come into the hall. It’s one of the longest periods of rehearsal I’ve ever read about.
LIMOR TOMER: Well, I’ll sign right now for three rehearsals. I’ll take it!