Opera House, Zürich – Soundboard

///Opera House, Zürich – Soundboard

Opera House, Zürich – Soundboard

Opera House, Zürich – Soundboard2018-07-28T01:06:01+02:00

Ignatius Bandshell in Zurich Opera House

The acoustics in the orchestra pit do not meet the requirements of the orchestra’s high standard. In the auditorium, the sound becomes indistinct, lacks charm and melodiousness.


An opera house is in acoustically anything but designed for concerts. Since the orchestra has to play on the stage, one needs for concerts at the Opera House, a specially designed “Bandshell”.

The Project

The great success of the spectrally-tuned soundboard in the orchestra pit moved the Zurich Opera House, to entrust us also with the acoustic design of the concert shell on stage. In implementing all wall, side and ceiling elements were planked with Ignatius soundboards. In concerts the stage floor is also manufactured with exact fit, fast and easy deployable occupied Ignatiusfloorboards. This project also showed how well the Ignatius resonance technology gets along well with fancy stage set-conceptions. Sun, 15 000 light-reflective polycarbonate lenses are inserted into the surface at irregular intervals, giving the visual appearance of an evocative appeal.

Such a comprehensive solution was a first for our company. They exceeded all expectations acoustically and was enthusiastically received.


On the occasion of the premiere of „Romeo and Julia“, by Sergej Prokofjew, Wiebke Hüster wrote in the “Frankfurter Allgemeine Zeitung on October 15, 2012:

Hardly ever before has this music sounded with such a great prominence. Each instrumental group delicately emerges but also integrates into the body of sound as a whole. The brasses really are a sensation.
Wiebke Hüster, FAZ vom 15.10.2012

With reference to Hüster’s review Heiner Madl, the orchestra director of the “Philharmonia Zürich”, commented:

Of course, our orchestra played marvellously and the conductor found the right access and the characteristic style for this opus. Nevertheless, the base for doing this is to be found in our new sound floor. Until this summer we plainly and simply did not have the acoustic conditions to make the described effects possible.
Heiner Madl, Orchesterdirektor der Philharmonia Zürich

Foto: Dominic Büttner