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Approximately one year ago, the Elbphilharmonie in Hamburg opened its doors for the first time. With the advent of this new landmark on the River Elbe in North Germany, one registers an increase in the general esteem for stage structures. Nowadays their cultural significance is no longer called in question; it is appreciated instead. In the public perception, buildings of this kind everywhere have assumed a status that was formerly reserved for museums. In the March issue of Detail, we present concepts for auditoriums and open-air theatres, congress centres and large opera houses. The one thing they all have in common, of course, is a stage – sometimes larger, sometimes smaller and sometimes even variable in size. The examples we include here, from Swabia to North Jutland, from Canada and China, allow a comparison of typological aspects; for example, questions of access and circulation and the layout of the individual halls. In the two longer “Process” contributions, which describe the Music Forum in Bochum and the Auditorium and Congress Centre in Plasencia, Spain, we investigate concrete issues involving the acoustics and planning. Stage structures are public places where people gather and feel at home. In Bochum, Bez+Kock Architects have succeeded in reactivating a 19th-century neo-Gothic church for this purpose. And in the Extremadura in Spain, a new auditorium by José Selgas and Lucía Cano has caught the attention of the public for the first time in this context in a remote location where such an audience did not previously exist. These, too, are aspects with which we have been keenly concerned in the editorial team.

Théâtres --- Salles de spectacle --- Opéras (constructions) --- Conception et construction.

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Theaters --- Théâtres --- Pictorial works --- Ouvrages illustrés --- Opéras (édifices) --- Opéras (constructions) --- Théâtres --- Ouvrages illustrés --- Ouvrages illustrés. --- Opéras (constructions) --- Ouvrages illustrés.

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Authors, French --- Opera --- Opéras (édifices) --- Opéra --- Intellectual life. --- Opera. --- Opéras (constructions) --- opéra (bâtiment) --- Decision making. --- Histoire --- projet --- Opéra Bastille (Paris) --- Rémy, Pierre-Jean, --- Opéra Bastille --- Opéra Bastille(Paris) --- France --- Vie intellectuelle.

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Architecte --- Conception de projet --- Coque --- Dessin d'architecture --- Détail de construction --- Géométrie --- Opéra --- Préfabrication --- Structure --- Structure plissée --- Toiture --- Utzon, Jorn --- Sydney --- Utzon, Jorn 1918-2008 (°Kopenhagen, Denemarken) --- Architectuur ; 1940-1960 ; Jorn Utzon ; o.a. opera Sydney --- Operagebouwen --- 72.07 --- 725.81 --- Architecten. Stedenbouwkundigen A - Z --- Openbare gebouwen ; concertgebouwenn --- Processus de conception --- Opéras (constructions) --- Utzon, Jørn --- Opéras (constructions) --- Utzon, Jørn, --- Sydney opera house

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Pour un architecte, se voir confier la conception et la construction d’une salle de concert représente un prodigieux défi en même temps que l’ultime consécration si la salle est « réussie ». Et pour qu’elle le soit, ce même architecte va devoir porter à leur perfection les aspects esthétiques et techniques en veillant à un équilibre permanent entre eux, seul véritable garant de la pleine satisfaction des usagers, particulièrement exigeants dans le domaine de la musique. Antoine Pecqueur, instrumentiste et journaliste musical, a sélectionné et visité pour cet ouvrage 30 des meilleures salles contemporaines du monde. Allure du bâtiment, qualité acoustique, analyse des différents usages selon les espaces : il explique pourquoi ces réalisations fonctionnent, en quoi elles excellent. Interviewant tous les protagonistes du projet — architectes (Paul Andreu, Santiago Calatrava, Renzo Piano, Vittorio Gregotti, Christian de Portzamparc, Jacques Herzog, Rudy Ricciotti…), acousticiens, scénographes, mais aussi compositeur (Pierre Boulez), chefs d’orchestre, instrumentistes, directeurs techniques, responsables de programmation —, il croise les regards et offre un panorama complet de ce qui se fait de mieux depuis près de trois décennies.

Opéras (constructions) --- Salles de concert --- Musique et architecture --- Acoustique architecturale --- Conception et construction --- Music and architecture. --- Auditoriums --- Music-halls --- Architectural acoustics. --- Architecture des théâtres --- Salles publiques --- Music-halls. --- Auditoriums. --- Architectuur ; voor muziek --- Muziekzalen ; concertgebouwen ; operagebouwen --- Auditoria --- Acoustics, Architectural --- Absorption of sound --- Lecture halls --- Lecture theaters --- Centers for the performing arts --- Architecture and music --- Concert halls --- Music facilities --- Openbare gebouwen ; concertgebouwen --- Bouchain, Patrick --- Niemeyer, Oscar, 1907-2012 --- Architecture des théâtres --- Theater architecture. --- 725.81 --- Concertzalen --- Akoestiek --- Theatergebouwen --- Buildings --- Acoustical engineering --- Sound --- Arts facilities --- Architecture --- Theaters --- Acoustics --- Environmental engineering --- Construction --- Andreu, Paul --- Arquitectonica --- Bofill, Ricardo --- Calatrava, Santiago --- Gehry, Frank O. --- Hadid, Zaha --- Nouvel, Jean --- Portzamparc, Christian De --- Designs and plans --- Dessins et plans --- Gehry, Frank Owen --- Musique et architecture. --- Acoustique architecturale. --- Portzamparc, Christian de, --- Designs and plans. --- Andreu, Paul, --- Calatrava, Santiago, --- de Portzamparc, Christian, --- Nouvel, Jean, --- Theater architecture --- Music and architecture --- Architectural acoustics --- Hadid, Zaha, --- Andreu, Paul, 1938-2018 --- Calatrava, Santiago, 1951 --- -Gehry, Frank Owen --- Hadid, Zaha, 1950-2016 --- Nouvel, Jean, 1945 --- -de Portzamparc, Christian, 1944 --- -Opéras (constructions) --- Opéras (constructions) --- -Andreu, Paul, 1938-2018 --- -Opéras (constructions) --- -Theater architecture. --- -de Portzamparc, Christian, 1944-