Everything you’ve heard about the new Kauffman Center for the Performing Arts is true.
The building is stunningly beautiful, inside and out.
And based on my experience Saturday at the symphony’s concert with pianist Emanuel Ax, the acoustics in the 2,000-seat Helzberg Hall are nothing short of extraordinary.
From our vantage point, in the Lower Grand Tier (essentially the lower balcony overlooking the orchestra seats) the sound was magnificent.
Being accustomed to the muddied blob of noise heard when the orchestra performed in its old home, the Lyric Theater (a former movie house), I hadn’t anticipated how bright the music would sound in the symphony’s new home.
I mean, we’d all been told this was a state-of-the-art facility, but even so. To my amazement, it was possible to pick out and isolate the sounds of individual instruments.
The pling of a triangle, the sensuous run of a harp, the deep, throaty call of a bassoon stood out in gorgeous relief against the overall sound of the orchestra.
What’s more, Helzberg Hall provides a true stereophonic effect. Seated as we were toward the center of the auditorium, the spacial breadth of the players was evident, with the basses rumbling on our left, the horns on our right, the tympani dead center and the various string instruments spread throughout.
Helzberg Hall
My personal favorite of the evening was “The Pines of Rome,” probably not the most artistic piece on the program but definitely the most fun…it almost sounded like one of those phonograph recordings from the early ‘60s designed to give your home stereo system a workout.
Given the wonders of the hall, it saddens me to report that the seating was really uncomfortable.
Maybe it’s just me. At 6 feet 2 inches I’m taller than your average patron; perhaps those of more modest height had no problem.
Here are my gripes:
First, limited legroom. I know there was a premium on getting as many bodies into the hall as possible. But I found there was just enough space to set my feet firmly on the floor with my toes almost touching the back of the chair in front of me. No wiggle room at all.
Forget about crossing your legs unless you want to violate the space of you neighbors.
And then there’s the unyielding quality of the seats themselves.
There’s no give. None.
Worse, it feels as if the back of the seat rises at a right angle from the part you sit on…the effect (for me anyway) was of feeling slightly pitched forward during the entire concert.
It was impossible to lean back and take it easy.
The effect was like that of being in an airline seat during takeoff and landing…you know, when the seats are in their “original and locked upright position”?
Folks, there’s a reason why airplane passengers push their seats back at the first opportunity. It’s because that original upright position is fiendishly uncomfortable.
The chairs in Herzberg Hall felt more like straight-backed dining room chairs than something designed to encourage relaxation and appreciation of the music.
At least they won’t have to worry about anyone falling asleep during a performance.
| Robert W. Butler
Butler's Cinema Scene 
I think perhaps the reason IS to that we won’t fall asleep! I admit I have on many “entertaining” occasions! Shhhhhhh…don’t tell anyone. (I hope I don’t snore!)
I thought it was just those of us sitting in the choral section who had to deal with straight-back, uncomfortable seats. We had a stunning view of the orchestra and the sound was amazing – so amazing that it was possible to ALMOST forget our aching backs.
Wow! Haven’t been yet but this gives me pause. You would think with all those $$$ spent they could have gotten the seating right.
I and the other two in my party had no complaint with the seats. We were so thrilled with the sound and everything Mr. Butler said about the performance is true. My favorite also was The Pines of Rome and I also liked the Beethoven Concerto No. 5 very much. I would have to say the building is the most magnificent I have been in for a symphony and I have been to quite a lot of major cities in the country. I am so thrilled that Kansas City has the Helzbergs, Julia Kauffman and others who contribute so much so that we can all enjoy the arts.
I agree about the seats. I inadvertently kept kicking the back of the seat in front of me and I’m sure the woman sitting there was annoyed. Sorry about that, I’ll try to sit up straight the next time. Otherwise, it was a stellar experience.
Jan Duncan-O’Neal
I agree about the uncomfortable seats, but my biggest complaint is the lack of safe access to and from. Only one main elevator with various twists and turns to get to the different levels, an only one main stairway. How did this pass code? The signage is terrible. The center depends upon various volunteers to direct you to where you want to go. Beautiful acoustics and building are fine, but the crazy logistics detract from my enjoyment in a big way!