Letter from Boston Symphony Hall By MASAKO YAMADA	フレームで見る  英文をプリントする  脚注をプリントする
シンフォニーホール 世界的に有名なボストンのシンフォニーホール。その豪華な内装から、訪れる人々はぜいたくで優雅な雰囲気を味わうことができます。ところが先日、フラメンコのコンサートに行くと、ホールはものすごい熱気とざわめきに包まれていました。雅子さんは、いつもは格調高いシンフォニーホールの、意外な一面を見たのです。

I don't go to Symphony Hall too often because the tickets are usually more expensive than what I'm willing to pay for, but I enjoy the luxurious atmosphere of the hall when I do go. There are chandeliers and marble statues inside and regal black-and-white photos of each of the members of the Boston Symphony Orchestra (BSO) displayed outside. Concertgoers often dress up to match this ambiance.

The last time I went to a concert at Symphony Hall, I decided to shop for some groceries before the concert since there is a supermarket nearby. Although my clothes were not terribly shabby, I noticed that I looked out of place with my groceries. I saw one of my dormmates during intermission, but I pretended not to notice her because I was embarrassed to go over to say hi with my plastic bag.

However, I went to a concert today that made me realize that the Symphony Hall atmosphere is not absolute. Rather, it comes from a combination of very fluid factors. I went to listen to a flamenco group called "Paco de Lucia Sextet." Judging from the program, the event was not affiliated with the BSO or the trustees of Symphony Hall.

Rather, it seemed that the sponsor of the concert booked Symphony Hall for the occasion because it is a large, central hall with good acoustics. I could tell that something was different immediately upon walking into the Hall. Although many people were dressed nicely, the people who wore jeans did not look out of place.

One glance at the program revealed another crucial difference: the level of contributions. The BSO programs list quite a few names of donors who have donated more than $10 million (¥1.05 billion). The highest level of patronage for this organization was "$1,000 (¥105,000) or more."

The audience behaved in such a way that the exaggerated grandeur of Symphony Hall seemed almost silly. When the band members came onto stage, everybody started cheering and whistling. When the band actually started playing, I noticed that the person sitting behind me couldn't help joining in with the music.

This person was not merely tapping out the rhythm: I could feel strong stomping through my seat. I found this rather charming and was slightly disappointed whenever the stomper stopped. After the performance, most of the audience members stomped their feet to show their appreciation.

The musical style was, obviously, different from the classical music that I'm accustomed to. The band leader, Paco de Lucia, is a long-time professional who has played in some of the most esteemed halls in the world, including Carnegie Hall. However, his style is anything but academic and stuffy. He has even said that guitarists do not need to study.

The strong rhythms coming from stomping feet and clapping hands were inevitably moving, especially in combination with the plaintive wailing of the vocalist. The audience could literally see the passion of the flamenco dancer: Every time he jerked or turned, a large spray of sweat flung off his body (and probably onto the other musicians and nearby audience members). I could only imagine putting the typical BSO audience into this situation.

This time, instead of the usual hush with some polite coughing and program-shuffling sounds in between movements, I could see people going in and out of the hall in between songs — or even during them — causing bright flashes of light in the hall as the doors opened and closed.

Some people even took flash photographs in spite of being told explicitly not to do so. Perhaps because of the laid-back feeling coming from the audience members, the sponsors and the musicians, the concert hall itself seemed less imposing.

I noticed little "flaws" that I'd never noticed before, such as the glowing, red exit signs above every door and the wires and cables supporting the lighting. It made me realize that although Symphony Hall is a well-respected, almost hallowed, acoustic space, it's really just a building. I suppose it is not too sentimental to say that it's what goes on inside the building at any given time that gives Symphony Hall its particular character.

Shukan ST: Nov. 26, 1999

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