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21
We missed an opportunity when Millennium Park was built in the early oughts. At the north end is the Harris Theater, which is a terrific venue for ensembles up to medium size. A hall large enough to accommodate a big orchestra would have been a wonderful addition to the park. But, I'm sure the CSO wants to stay as far as possible from the political leadership of the city, and for good reason.

The Auditorium Theater a few blocks S features really excellent acoustics, but probably has more seats than the CSO would want, and I don't think it has elevators to the upper floors, a nonstarter. As for a new hall, we don't really have a downtown location that would work.

Most good halls are shoeboxes, but Orchestra Hall is egg shaped. Aside from the inherent problems projecting sound, I don't think it has enough cubic feet of air to support a Mahler-size orchestra. It could serve well for theatrical events if the orchestra played somewhere else.

Fun fact: Medinah Temple served as a frequent recording venue for the CSO after the disastrous Orchestra Hall remodel in the late '60s. RCA avoided Orchestra Hall like the plague after that remodel. Decca recorded in Medinah but the unnatural perspective of those Solti recordings has not aged well. (Timpani sound like they're at the front of the stage, for example.) DG managed to get respectable recorded sound from Orchestra Hall for its Boulez recordings, but I don't think other labels have.

Medinah Temple was turned into a Bloomingdale's store but had been empty until recently. Now it's a temporary site for a casino, the permanent site to be built along the river at the former location of the Tribune printing plant. But Bally's, purported builder of the casino, is in financial difficulties and may not be able to complete the project.

I heard a fine community orchestra at Medinah before Bloomingdale's took over. Acoustics were excellent.

At least one Solti/CSO recording--M7--was made at the Great Hall of the Krannert Center at U of I in Champaign. Acoustics there are excellent, too. I should keep a closer eye on their schedule.
22
That's what I don't get either . It's clearly the big gorilla in the room. NOBODY is talking about a possible replacement strategy for Orchestra Hall, and it's quite clear that it's no longer competitive as a major symphony venue. I get tired of the endless talk about how wonderful the C.S.O. is for one very simple reason: Orchestra Hall. They sound better when they play or record elsewhere.
23
I attended his M5 here in Chicago as well. I don't have a strong recollection of the performance, but then I'm extremely selective about my M5s. I will be hearing Mäkelä conduct Shostakovich 10 in a couple days.

My seat is in the upper balcony, practically nosebleed territory. Orchestra Hall has few if any good seats, and you can pay $$$ for really bad sound on the main floor, depending on where you are. The upper balcony used to offer a reasonable balance of sound quality vs. cost. However, tickets for the Shostakovich concert are $95 up there, which seems absurdly high. I snagged a "partial view" seat for $55. (I can get a better seat in Milwaukee for so much less that the difference covers my train fare.)

Orchestra Hall is hopeless, and I can't imagine the CSO would move to a different venue, much less build a new hall. I'm reminded of Eugene Ormandy's one-word response when he was asked if anything could be used to improve the notoriously dry acoustics at Northrup Auditorium in Minneapolis: "Dynamite."
24
This is fascinating news (I'm a Chicagoan).

I saw him conduct M5 last year in Chicago, and I was impressed. Of course, he still has much to prove.
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28-year-old Klaus Mäkelä has been named music director of the Chicago Symphony Orchestra starting in the 2027-28 season. That's the same season he'll begin his tenure in Amsterdam—quite an undertaking for such a young man.

https://chicagoclassicalreview.com/2024/04/klaus-makela-to-become-cso-music-director-in-2027/

James
26
Thanks, Barry!^

I am very anxious to have the rest of the Bychkov/CPO Mahler cycle. I've heard their live archives of M6th and 9th and they were just great. I'll pobably write to pentatone too.

John
27
Like John, I don't feel the world needs yet another Czech Phil. "Ma Vlast", but who's to say. Maybe Bychkov really wanted to conduct it. I wouldn't mind more Payere Mahler either. However, I would like to get my hands on his upcoming Mahler 6. When you come down to it, the world doesn't need any of this stuff.

Regardless, I sent off a message to Pentatone, urging them not to give up on the Bychkov cycle (I can't imagine that they would, but far stranger things have happened in the music industry). If you feel the desire to amplify my message to them, use info@pentatonemusic.com

Barry
28
That Payare M5 is fantastic. Frankly, if Pentatone wants to capitalize on that success I'd be happy to hear more from that team before getting back to Bychkov/CPO.

And if not, of course I'll be looking forward to more Bychkov -- especially if there's some Dvořák in the works.

29
Indeed. What is going on (?). Some claim that their recent M5 recording with the other guy in Montreal, actually IS a beginning of a whole new cycle (Payare). Perhaps Pentatone wants to issue a few more of those first, before continuing with the Bychkov cycle. A case of striking while 'the iron is still hot, so to speak. I assume that they must have several more Bychkov Mahlers 'in the can' at this time, no?  .    .   .   .  I would like to have his M6 in Scherzo/Andante order.

Pentatone started a new regime in San Francisco, and perhaps those people are calling the shots at this time. They're located in the new S.F. Conservatory of Music building, right across the street from Davies Symphony Hall. They're advertising for an almost full-time position for someone to interface with their Dutch office - something like that. It might be a case of the left hand not knowing what the right hand is doing. When it comes to record labels, NOTHING surprises me. I've pretty much seen it all.

I will try to formulate a polite letter to Pentatone's S.F. office, and see if I get ANY response. In many, many cases, these record companies simply ignore potential customer inquiries. The people involved don't know what the heck is going on either. One thing really good about Robert van Bahr (BIS), he gets back to you. Same for the guy who runs Ondine. Speaking of which   .    .    .   

Don't spread this around publicly, but van Bahr told me that the Vanksa/M.O. M3 should come out in May. I'm looking forward to that. 
30
After the releases of M1,2,4, and 5, I don't hear any more announcement of their supposedly ongoing Mahler cycle. Instead, Pentatone just released Smetana <Ma Vlast> and I read a report that they will launch a new Dvorak cycle with Bychkov/CPO later this year. So, what's going on?

John
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