When the War Memorial Opera House first opened in 1932, its theatrical systems were state-of-the-art. Since then, with neither funds nor time available for renovations, there have been no significant improvements to the technical infrastructure. As a result, existing audio, video and communications systems were out of date. Backstage production facilities were crowded and inadequate. The lighting and sound systems, which had been designed for a bygone era, had been only sketchily updated over the years.

The 1989 Loma Prieta earthquake caused major damage to the historic structure. The resulting seismic retrofit, which shut down the House for the 1996 season, provided an opportunity to bring the antiquated theatrical systems up-to-date.

The Committee to Restore the Opera House retained theater and lighting design consultants Auerbach + Associates to oversee the renovation of the technical infrastructure. Auerbach + Associates designed and developed new stage lighting systems, backstage communications and sound systems, and stage rigging and controls that will serve both the Opera and the Ballet. Auerbach + Glasow, the architectural lighting design division of Auerbach + Associates, was also retained to design the renovation of the chandelier and other auditorium lighting elements.

Several of the systems break new ground in the performing arts world, according to Auerbach + Associates President, S. Leonard Auerbach. Auerbach + Associates conceived a lighting control system that is the most advanced of its kind in the world and is the largest and most complex system to use Ethernet to distribute digital multiplex around the theater. It is also the first system to be designed as a lighting "intranet" that allows technicians to control multiple panels from multiple locations, providing much more artistic flexibility.

Auerbach + Associates also designed a unique motorized assist rigging system that allows the counterweighted rigging line sets--normally operated by hand--to be motorized. This system and a motorized spotline system are remotely controlled by the most advanced computer rigging control system available.

Key to the success of this project is the extensive role Auerbach + Associates played in coordinating the contractors and special trades in the construction process. Thanks to the innovative technical infrastructure that Auerbach + Associates has put in place, the War Memorial Opera House will be able to boast of one of the most advanced theatrical systems in the world when it reopens in September 1997.


THEATRICAL LIGHTING

Lighting is the key to the artistic realization of any opera or ballet production. Auerbach + Associates has designed the complete replacement of the existing obsolete lighting system in the Opera House, providing new, architecturally integrated lighting positions in the auditorium, new light bridges above the stage, new portable lighting instruments, and an upgraded rear projection platform. Auerbach + Associates worked closely with the technical and artistic staff of the opera and ballet to develop hardware and software criteria for a new computerized dimming and lighting control system, supplied by Strand Lighting of Rancho Dominguez, California that will give the Opera House the most advanced theatrical lighting control system in the world.


Lighting Control

The theatrical lighting control system-which was still using circuitry and switch board elements from the original 1932 system-is being totally replaced.

Current approaches to lighting design require a great deal of flexibility and a multitude of circuits. The new lighting control system has more than 2,000 dimmer and power circuits, networked data control distribution, and dual tracking consoles. Capable of controlling up to 4,096 devices, it is the first system to make extensive use of Ethernet to distribute DMX (digital multiplex) and other digital data around the theater.

It is also the first system to use partitioning control. One main control console can partition control to other consoles, so that the various consoles can move lights, set intensity, or move color scrollers and record the information back to the main console.

Like a computer network in a large office, the system allows seamless control of multiple devices from multiple locations, providing the opera and ballet with an extremely flexible artistic tool. Three networked computers provide remote dial-up access to three lighting consoles. The system is not only capable of controlling the time and intensity of traditional luminaires, but can also integrate control of color scrollers, moving lights, scenic projectors, and other special effects.

The dimming system is housed in a new dimmer and transformer room that was built at mid-level within the stage structure, thus economizing on wiring and providing acoustic isolation from the stage itself.


Lighting Bridges

The lighting bridges over the stage are the primary mounting locations for theatrical lighting. These eight bridges, including four multiple section bridges of three segments each, have been redesigned by Auerbach + Associates to provide greater accessibility and accommodate new luminaires with additional circuitry. The first bridge has integrated follow spot positions with special safety seats for the operators. The bridges are now controlled by the computerized master rigging control, and their motor drives have been reconfigured to provide increased capacity.


Lighting Equipment

Auerbach + Associates worked closely with the lighting designers of the Opera and Ballet to assure that the new complement of lighting equipment that replaces the old spotlights is exactly what they need. The new luminaires will provide a greater level of artistic freedom and will be much more energy efficient. The equipment not only includes a complement of spotlights, but also remote-controlled color scrollers and remote-controlled moving lights.


New Lighting Positions

Over the years, as lighting design techniques evolved, both the Opera and Ballet required more lighting positions in the auditorium. To accommodate these additional positions, spotlights had been crudely mounted in increments along the side walls and balcony front. As part of the renovation, Auerbach + Associates has increased the total number of lighting positions and has integrated them into the architectural character of the house.


ARCHITECTURAL LIGHTING

The architectural lighting system in the auditorium of the Opera House was in poor condition. Research by Auerbach + Glasow showed that lighting levels in the auditorium had declined to ten times less than the levels intended in the original design of the auditorium. The grand, central chandelier in particular had deteriorated to the point where both safety and light output were compromised. A key element of the lighting system--a system of uplights from the top of the chandelier--had been mysteriously removed some time in the past. The redesign of the auditorium lighting included restoration of the uplights and the complete gutting and recircuiting of the interior of the chandelier. New lift-out socket assemblies were designed to ease relamping in the very cramped interior of the fixture. Special architectural features such as the organ bay arches and the decorative proscenium were restored with special lighting elements, and all other fixtures in the auditorium were cleaned and relamped. Circuits are connected to new architectural dimmers located in the same dimmer room as the theatrical dimmers.


AUDIO-VIDEO SYSTEMS

A critical part of the new infrastructure is the distribution of audio and visual signals throughout the War Memorial Opera House. These vital distribution systems are the conduit for production monitoring, performer paging, production communications, special sound effects, playback, sound reinforcement, and archival sound and video recording.

The communications, audio, and video systems centralize control of all sound and communications, providing a new backstage communications and video system, a new sound and production center, a new speaker system in the auditorium, and a new stage managers console.

Auerbach + Associates developed a wiring infrastructure that uses almost 100 miles of A/V wire and cable to distribute signals throughout the building. The circuits terminate in a new sound center that houses all signal processing equipment and is equipped with a control room where full production control is managed. The new digital sound control console provides great control flexibility and automated presetting of levels. Both the Opera and the Ballet now have their own sound production centers.

The design of the auditorium sound system was a collaborative effort between Auerbach + Associates and the sound designers of the Opera and Ballet. Responding to their needs, Auerbach + Associates initiated the design of a totally new loudspeaker system which was custom developed by Meyer Sound Laboratories, Inc. of Berkeley, California.


OVERHEAD RIGGING

The structural improvements to the stage area required that the existing counterweighted rigging system be replaced. The original system had become very unsafe and did not have the load-bearing capacity needed to fly heavy modern scenery. The new counterweight system, supplied by J.R. Clancy, Inc. of Syracuse, New York doubles the capacity of the original system and is fully balanced at 1,800 pounds per line set.

Variable speed hoists can make moving heavy pieces of scenery in and out of a set smoother and more seamless than is possible with hand-operated lines. Auerbach + Associates designed a unique tracked motorized assist system for the Opera House that allows up to twenty-four of the counterweighted rigging line sets-normally operated by hand--to be randomly motorized. This system of motors, which is a unique design, increases the capacity of each line set another 1,000 pounds to 2,800 pounds.

In addition to the motor assist drives, Auerbach + Associates developed a system of motorized spot lines of 1,000 pound and 2,000 pound capacity each. These winch units permit the spotting of a lift line anywhere over the stage area.

Auerbach + Associates selected the most advanced computer rigging control system available to remotely control both the motor assist system and the spotlines. This control system, never before used in an opera house in the United States, permits random and fully choreographed scenery movement with the utmost safety.


MAIN CURTAIN

One of the most important and visible components of the War Memorial Opera House and a significant part of its history is the beautiful main stage curtain. Design and fabrication of the new curtain was coordinated by Auerbach + Associates.

When renovation began and the main curtain and organ loft drapes were removed from the Opera House to be cleaned, they were found to be beyond repair. A decision was made to replace them and Auerbach + Associates was asked to duplicate the original drapes that were made for the War Memorial Opera House in 1932.

Auerbach + Associates sent a sample from the original 1932 curtain--a gold Brocatelle with swagged valances, jabots and tassels-- to the fabric manufacturer Scalamandré of Long Island City, New York. Scalamandré scanned the pattern of the original Beaux Arts curtain into a computer and then stretched and corrected it to fit the dimensional standards of the new curtain. With a new computerized loom that operated for two shifts a day for two months, Scalamandré used the scanned pattern to custom weave nearly 2,000 yards of 100 percent organza silk with a cotton backing. According to Scalamandré, this technology resulted in a quality of silk weaving that far exceeds the original in aesthetics and durability. Auerbach + Associates then forwarded the curtain fabric to Tru-Roll, Inc. of Glendale, California for assembly.

The contour curtain and its rigging weigh about 3,000 pounds and are operated by a motorized lifting system that allows several profiles to be contoured. The motorized lifting system is also computer controlled by the master rigging control system.