Martin Chalifour, concertmaster, L.A. Phil and the first musician to perform in the hall July 30, 2003: "The wood of the stage wasn't even there, but Frank [Gehry] and Esa-Pekka [Salonen] were too anxious to wait for the acoustical surface. They wanted to know what it would be like. I was so excited — I didn't even tune my instrument. I played a Bach piece, the opening of Sonata No. 3. I think after that point they got pretty emotional."
Esa-Pekka Salonen, former music director, L.A. Phil: "We sat there and the miraculous sounds came out of his violin that enveloped us in a way that I hadn't experienced in a modern concert hall."
Deborah Borda, president and CEO of the L.A. Phil: "I remember the very first rehearsal. It was really a tremendous risk and adventure. We didn't know how it would sound. So we invited the key donors and players who had made a difference to attend the first rehearsal in the hall. And so we had about 300 people there — Mayor [Richard] Riordan, Eli Broad — I sat between Frank and Yasuhisa [Toyota, the acoustician]. Esa-Pekka came out on stage to start. And the three of us all held hands. And they started to play. And you could tell immediately that it was a very special acoustic. Esa-Pekka stopped conducting and spun around and said, 'Ladies and gentleman, we have a bass section!'"
John Williams, Oscar-winning film composer and conductor: "It's our Eiffel Tower.... I was thrilled when I was first able to see the exterior of the building. It looked like if the wind blew, the hall might sing, it might have a beautiful sound."
Gustavo Dudamel, current music director of the L.A. Phil: "The first time that I was at Disney Hall was the first time I was in L.A. conducting the L.A. Phil. And I remember the first impression was the architecture ... inside of downtown, you have this kind of sun. 'Let's see what's inside, how it works acoustically.'"
The difference of the acoustics:
Peter Sellars, director: "Every surface is resonant. So if a person moves his right foot on the second balcony, everyone notices. So everyone is a participant, not just an observer. So the whole place notices if you drop your program. Everyone has to be totally present. The hall demands that people meet its demands. So you can't exactly relax, because you're part of the concert. That edge-of-your-seat quality is engineered into the building. You have to pay attention."
David Howard, clarinetist, L.A. Phil: "There were parts of the orchestra I didn't hear for 20 years. The string basses — I saw them for many years, but I didn't hear them until we got to Disney."
Christopher Hanulik, bass player, L.A. Phil: "The satisfaction the bass section derives from playing in Disney is tremendous given the acoustical challenges we faced at the Dorothy Chandler Pavilion. I don't want to speak negatively of the Chandler, but listening to the orchestra there was nothing to what was taking place onstage. I felt audience members were not getting the same impact that we were producing on the stage."
Chalifour: "[Before Disney] when we played, we overplayed. Everything was ingrained in our muscle memory. If you do that regardless of space you can get in trouble. It was a shock [to play at Disney], but a good one."
Bill Viola, video artist of orchestra's groundbreaking "The Tristan Project" in December 2004: "I remember when the hall was still young and they were trying to figure out the acoustics — Esa-Pekka was getting really annoyed at hearing a little sound.… They were probing the side halls and all of a sudden they found that one of the panels in the hall was not centered properly."
Jean-Yves Thibaudet, pianist and frequent guest artist: "It is a big hall, but still when you're on stage, it feels intimate. Intimate is maybe not the right word, You feel close to the hall. Some halls, you feel like you're in a barn.... By the way, I have to say that Disney Hall has some of the best pianos in the country. I play a lot of pianos... this is so important to us pianists. They are in such good shape."
The challenges of Disney Hall:
Salonen: "All of a sudden you could not get away with anything. I think the unique thing about Disney Hall is the clarity and multi-dimensionality of the middle voices. So you can actually hear what the second violins are doing, hear what the violas are doing, hear what the second winds are doing."
Howard: "The most profound change has been the orchestra's relationship with the audience. Before, we could have been performing for no one. It became a theoretical experience sometimes. At the beginning, at Disney, it was almost off-putting to have that contact. It was almost sensory overload. But now it's such a wanted aspect of what we do."