So Postscript:<\/STRONG> Music critic Martin Bernheimer adds his grace notes to <\/P> Still, this is a reasonably handsome, few-frills hall, a work still in progress. It seems to court <\/P> Just in case you noticed the British spelling, i.e. harbour: Bernheimer’s no Brit. He’s So < FONT color=#003399>what about those acoustics? More verdicts are in, all tentative of course. “Clearly, the acoustics are excellent,” writes Howard Kissel of the New York Daily News. Anthony Tommasini of The New York Times, following up his first piece, writes this morning that “the discretely amplified Kenny Barron Quintet, a jazz ensemble, sounded […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-390","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-6i","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/390","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=390"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/390\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=390"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=390"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nverdicts are in, all tentative of course.
\nexcellent,”<\/FONT><\/STRONG><\/EM><\/A> writes Howard Kissel of the New York Daily
\nNews. Anthony Tommasini of The New York Times, following up his first piece, writes this
\nmorning that
\njust right in the new space.”<\/FONT><\/A><\/STRONG><\/EM> But Times jazz critic Ben
\nRatliffe agrees with Arts Journal’s
\n(Scroll down.)<\/EM> Ratliff reports,
\nnoise.”<\/FONT><\/STRONG><\/EM><\/A> Also like Teachout, Tommasini sometimes
\nheard the “telltale distant rumble” of the subway that runs beneath the hall. But unlike Teachout,
\nhe writes: “It didn’t bother me a bit.” Not incidentally, here’s
\nits main concert configuration, one of a half-dozen seating deployments it can martial.
\n(Check out the slide show, too).<\/EM><\/P>
\n
\nthe audio mix
\ntoday’s Financial Times<\/STRONG><\/EM><\/FONT><\/A>. He writes: <\/P>
\n
\nZankel Hall offers no visual shocks. The entrance facilities are modest, the
\nescalators narrow, the lobbies rather cramped. The auditorium adheres to old-fashioned shoebox
\nproportions. The interior walls are lined with sweet-smelling wood, and the ceilings harbour
\nunadorned lighting grids. The seats offer little spacious comfort, and currently there’s no center
\naisle.
\n
\n
\nserious danger only in its rumbling proximity to the subway system. From the side of the 10th
\nrow, downstairs, the sound at the opening concert seemed live and bright, too much so in
\nfortissimo outbursts. We’ll know more about the acoustics, of course, as time marches on, as
\ninternal tests change and mechanical variables are adjusted.<\/P><\/BLOCKQUOTE>
\n
\n
\nthe Pulitzer Prize-winning former chief music critic of the Los Angeles Times and
\n— not to wave the flag — U.S.-born and -bred.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"