LEMO Magic Backstage at the Vienna Opera
Step behind the scenes at the Vienna Staatsoper and discover how LEMO connectors contribute to the show. Gain expert insights through our interview with the chief sound engineer as he shares the challenges of live performance in a world-class historical venue.
As twilight settles over Vienna, the curtain rises on Mozart's beloved opera The Magic Flute. When the Queen of the Night unleashes the piercing opening notes of her famous “rage aria”, over 2,000 pairs of eyes and ears are spellbound, drawn to the vibrant stage of the Vienna State Opera. Her dazzling coloratura soars effortlessly, carried with crystalline clarity through the Staatsoper's masterfully tuned sound system.
About the Vienna State Opera
The iconic Vienna State Opera opened on 25th May, 1869. A blend of Gothic and Renaissance elements, with some details even influenced by Emperor Franz Joseph himself, the building faced some criticism at the time. One columnist even described it as “heavy and sinking into the ground as an elephant in digestion”.
The now world-famous Staatsoper, cherished by the people of Vienna, offers 1709 seats and 435 standing places. Each season, around 350 performances of over 60 different operas and ballets take place on the main stage and in the state rooms, alongside over 800 guided tours and other events. In total, around 900,000 people visit the opera house each season.
Building photo credits: © Wiener Staatsoper / Michael Pöhn
LEMO connectors, used for the microphones and loudspeakers, have proven to be incredibly reliable for decades.
Discreet and unpretentious, LEMO connectors lie hidden in the shadows, yet they play a crucial role in sound quality: 4S.304 connecting microphones and loudspeakers all over backstage. Some have stood steadfast for almost thirty years, faithfully transmitting each note and each whisper of music without falter.
Others, more recent, 4E.675 triaxial and 3K.93C SMPTE, bridge the world beyond - the Austrian Television's OB vans linked to the heart of the stage.
Since their first installation, decades ago, they have functioned without flaw, night after night, ensuring hundreds of performances every season, unseen but essential - never once betraying their role and the confidence placed in them.
After our exclusive tour of the building and backstage, just before the public began to fill the premises for the evening performance, Athanasios Rovakis kindly agreed to an interview. A seasoned professional, he has brought his technical expertise, precision and passion to every live performance at the Wiener Staatsoper for over 12 years.
How has the technology and acoustics evolved since you joined the Wiener Staatsoper?
Athanasios Rovakis: During this period, we have seen significant advancements in sound technology, particularly in the areas of wireless systems and network-based audio solutions.
What is your primary role as chief sound & video engineer at such a prestigious venue?
I serve as the head of the Audio and Video department, overseeing all technical aspects related to audio and video for the performances. This includes managing personnel, maintaining and continuously improving our technical capabilities, and designing the sound setup for new productions.
Put simply, it is my responsibility to ensure that every performance sounds perfect. From rehearsals to final curtain, sound quality is paramount.
What is a typical workday like for you?
A typical day involves rehearsals in the morning or an evening performance. On some days we handle both.
How big is the team you are responsible for?
I lead a team of 13 professionals in the Audio and Video department.
Are there any acoustical features or unique elements in the Staatsoper that help shape its world-famous sound?
Yes, the geometry of the hall, the materials used, acoustic reflectors and the layout of the boxes all contribute to the unique sound. Notably, the orchestra pit is very open and deep, which plays a key role in shaping the sound experience.
How does the building’s respectable age impact the integration of modern sound systems with its historic architecture?
The Staatsoper being a protected historic building, all technological upgrades must be carefully integrated to respect the existing architecture.
What specific challenges do you face in maintaining or enhancing the sound quality?
One of the challenges is ensuring that any change to the sound system is compatible with all 60 productions in our repertoire.
What type of sound equipment do you use, and how do you decide on the best setup for each event?
We use a wide range of equipment. The selection for each production is made after thorough testing, ensuring that it meets the specific needs of the performance.
Are there any cutting-edge sound or video technologies you have recently integrated that have significantly improved the opera and ballet experience?
Yes, over the past 10 years, we have upgraded to a modern digital mixing console, installed wireless systems, high-quality modern loudspeakers and a powerful video projector.
In addition to real-time streaming on various platforms, performances are often broadcast by the Austrian Television. Can you tell us about your cooperation?
We have enjoyed a longstanding trustful cooperation with the Austrian Television. Our colleagues there are highly skilled and professional, with whom we have an excellent relationship developed over many years.
What are the most common challenges you face when preparing for an event?
The most unpredictable link in the chain is always the human factor. We must deal with tight setup and rehearsal schedules, as well as last-minute changes. Flexibility and problem-solving are essential.
With 350 performances of over 60 different operas and ballets each season, how do you handle such an impressive schedule?
We rely on a well-trained and experienced team, as well as robust and reliable technology.
How do you work with conductors, musicians and singers to achieve the desired sound for each show?
We work very closely with them during rehearsals, always striving for a trustworthy working relationship. Afterwards, we conduct intensive analyses using PFL (pre-fade listen) recordings to refine the sound.
Have you ever had technical issues during a performance and how do you handle these situations in such a high-pressure environment?
Yes, of course – these are live performances, and technical issues can happen. There is no given solution when something goes wrong during a live show, but we work hard to minimise such situations. We have spare parts, backup equipment and standby personnel ready, so we can react quickly when needed.
How do you ensure that all the connectors, cables and connections are securely and reliably set up for each performance?
We conduct a complete system check before every performance.
Can you tell us about your experience with LEMO connectors?
LEMO connectors, used for the microphones and loudspeakers, have proven to be incredibly reliable for decades.
Article by Judit Hollos Spoerli, Corporate Communications Manager at LEMO
