Improving listening conditions in partially covered opera pits or “The strings are working so hard…why can’t I hear them?

Since the introduction of the gargantuan orchestra to the world of opera by Wagner, opera house designers have been faced with the question of whether to place the orchestra in an open pit, a covered pit, or a partially covered pit. The open pit has long been favored by musicians but has it operational and economical drawbacks, including often large distances from conductor to singer, challenging pit/stage balance conditions, and reduced audience seating close to the stage. A fully covered pit works well for the special works that the Bayreuth master intended for this condition, but is inappropriate for the rest of the core operatic repertoire. The partially covered pit where some upstage musicians play under the stage is conceptually advantageous for a number of reasons, but can present challenges in uneven listening conditions within the orchestra (excessive loudness, ensemble difficulties) and in the house. In some instances, musician complaints have resulted in regulatory action. This paper explores the root causes of ensemble issues commonly found in partially-covered orchestra pits and presents specific solutions drawn from the consulting (and conducting) experience of the authors.