Opera Orchestras

Do the orchestras of opera houses play symphonic music differently than symphony orchestras do? If the orchestra that plays in the pit of La Scala were to tackle a Mahler or Bruckner symphony, could you distinguish an operatic influence in their style of playing? I realize that some orchestras (like the VPO) shuttle from the pit to the stage, doing double-duty work, but others do not seem to, except on rare occasions.

Rich Sauer

Well, the Met orchestra does concert performances several times a year. I've never heard one (I wouldn't go to NYC for anything), but they've gotten very good reviews.

Orchestrer der Bayreuther Festspiele Beethoven 9th is unsurpassed. Furtwangler -even with his opera conducting- kept his line. While Solti seemed to 'punctuate' very well with the VPO - Ring. The VPO pride themselves as being seamless.

We are splitting hairs. I think it's more to do with conductor. To a certain extent, size. Correct me, but I don't think there are philharmonics as the operas house pit crew. I would think La Scala could belt out a decent Bruckner 8th had an appropriate conductor taken the reigns.

I can only comment on the Met Orchestra, which I have heard at Carnegie a number of times. At their best, they play as magnificently as any orchestra in the world, in pretty much all types of repertoire. I can't really discern an 'operatic influence,' necessarily (although their performances have plenty of drama, if that counts), but they do play with a certain assurance that might result from having such intense focus on the Met's activities.

They have certainly given world-class performances of the Verdi 'Requiem,' Schoenberg's 'Gurrelieder,' Mahler's Ninth Symphony, Haydn's 'Creation' - even John Cage's 'Atlas Eclipticalis,' among many others. What makes their prowess amazing to me is that they do these concerts in addition to their grueling schedule in the Met's pit.

It is possible that some opera orchestras burn out faster - a mixture of 'cabin fever' and a paradoxical increase in anxiety from playing the same thing night after night (easier to anticipate expected difficult bits). If you started with players of equal talent and ability, the symphony orchestra would likely remain fresher and more flexible over time. That's the impression I get from talking to a lot of players from both types, and even more interestingly players that have changed from one to the other.

There is an interesting segment in the video biography of Solti in which he comments on the need to remind an opera orchestra (in this case the Bavarian) that when they're playing symphonic music, *they* are the stars. Perhaps the psyche of a pit orchestra takes a little bit of work when they take the stage by themselves.

Still, it's worth recalling that quite few orchestras that have recorded extensive symphonic repertoire are opera orchestras when they're 'at home'. In addition to the VPO, there is the Staatskapelle Berlin (aka Orchestra of the Deutsche Oper), the Bavarian State Orchestra (aka Orchestra of the Bavarian State Opera), and surely others I am forgetting. I think you'd be hard-pressed to detect the operatic origins of these bands playing Beethoven under Barenboim or Kleiber.

Tony Movshon

I don't believe that there is any difference that you can generalize about. Obviously different orchestras (symphony and opera) are ad different levels

And a few more strings. Otherwise the Mahler 8th might be 'Symphony of about 40'.

Now you're confusing me. Staatskapelle Berlin belongs to the Staatsoper (old E. Berlin opera house) under Barenboim, and the Deutsche Oper (old W. Berlin house) under Thielemann, no?

Not only have I confused you (and myself), but now you're confusing me ... the Staatskapelle is the orchestra of the Oper unter den Linden, the 'Deutschen Staatsoper Berlin' of the former East. The Deutsche Oper is Thielemann's house, in the former west. I think ... no wonder the city wants to consolidate the two houses

I don't recall you being invited.

Marc Perman