Comments on: A bridge too far: Connecting Portland’s performance halls

By: Martha Ullman West

Martha Ullman West — Thu, 11 Sep 2008 18:22:00 +0000

The problem for the Schnitz for the symphony is the poor acoustics. The problem for the Schnitz for dance performances is the truly lousy, and I mean lousy, sightlines, making it the perfect place for fifth rate touring Broadway shows! crossly, muw

By: Art Scatter » BodyVox jumps for joy about its new home

Art Scatter » BodyVox jumps for joy about its new home — Tue, 09 Sep 2008 20:18:43 +0000

[...] in the Portland Jazz Festival yet) and arguing about whether the city needs a covered plaza as a gateway to the downtown arts district, let’s take time out for a spot of good [...]

By: Rob

Rob — Mon, 08 Sep 2008 18:25:48 +0000

Where is an in-depth analysis of the Schnitzer Hall acoustics? How is acoustic quality objectively measured? How do the measurements compare to other symphony spaces? A good writer should be able to translate the report of an acoustics consultant into accessible language and vet it for objectivity.

Vacating Main between Broadway and Park (8th) could allow a soaring closed canopy in the flavor of Sir Norman Foster’s . Without through traffic by the Performing Arts Center, consider closing Main between Park (9th) and 10th. Vacating the street could allow contiguous development by the Museum from Jefferson to Salmon.

By: MightyToyCannon

MightyToyCannon — Sat, 06 Sep 2008 18:47:15 +0000

Thank you for putting this issue into a broader, more strategic perspective. I hate to be a pessimist, but the challenge seems insurmountable in a climate where even the strongest advocates of or public funding of the arts don’t seem to be talking about an investment in the physical infrastructure of the arts. And, the first hurdle will be figuring out whether an organization such as the Oregon Symphony can even survive in its present form. (Not only does the Symphony have to figure out how to build a new audience, but what happens when the wealth of their biggest patrons is transferred to a generation that may not have the same commitment to the arts or even to philanthropy?)

By: Barry

Barry — Fri, 05 Sep 2008 14:14:33 +0000

I think cities, specifically city governments, have a difficult time deciding to support something like “orchestral music” or “contemporary theater” or “European art” or even “the art of our region”. They seem too frivolous compared to roads, police and fire departments. But they aren’t. So governments prefer to support the facilities, the “infrastructure,” which seems more “basic”. But the success of the facilities is contingent on meeting the needs of “orchestral music” and its audience, in the case of the Schnitz.

A lot of time and expertise and even money has gone into addressing the acoustic issues of the Schnitz, from the very beginning of the refurbished hall, but the problems were too great for a “fix”. So we come to a point more than 20 years out where it needs an expensive sprucing up for various reasons, and you get to the line of questions and alternatives that Bob has proposed. If the city cares about orchestral music, rather than the Schnitz, that leads us directly to the original post. And I agree: there is something sad about it all.

By: Jimmy

Jimmy — Fri, 05 Sep 2008 08:55:01 +0000

This thing is rolling out the way it is because PCPA and the people who own/run the facilities there simply want to spend money to make more income and use from the facilities. They could care less about the Symphony or the users. Really sad.

By: Barry Johnson

Barry Johnson — Wed, 03 Sep 2008 22:27:10 +0000

oh. and the bridge/gateway idea is pretty crazy. no one would “read” it that way, even with the obligatory “gateway to the cultural district” sign.

By: barry

barry — Wed, 03 Sep 2008 13:45:41 +0000

Thanks for the historical context, very useful in this case because it suggests that the inadequacy of the Schnitz is more or less permanent as far as it ever becoming a world-class performance hall for an orchestra is concerned. Will the city (government, foundations, donors, corporations) ever pony up half a billion or so for major new or renovated performing arts halls? It’s hard to imagine. How about a tenth that much for several neighborhood arts centers on the order of IFCC? That sounds more like our style, not to mention our budget, but even that sounds far-fetched, even with a new city council that will look favorably on the arts. Either would need a major “starter” donation — maybe $100,000,000 for a big new arts center? Does that sound right?