PERFORMERS’ HEARING
Above: The UK’s Nevill Holt
Opera was designed by
WWM Architects and Sound
Space Vision with these
considerations in mind
Right: More musicians are
using custom earplugs
18 AUDITORIA 2020 VOLUME ONE
Kevin Case, a USA-based attorney and founder
of Case Arts Law, which represents several
orchestras and opera companies. “The employers
are well aware of the issue, and I think want to
do the right thing. Nobody wants their musicians
going deaf. But there are some tricky elements.”
While cases of acoustic shock among
musicians are thought to be rare, progressive
hearing loss is a common problem. “Certainly
a gradual decline in hearing is something that
just about every musician has to some degree,”
solutions, but the conversation is permeating
throughout this industry.”
Two conditions
While the court case’s jurisdiction applies only
to the UK, legal experts say the rest of the opera
and classical music world grapples with the same
issues. “In most negotiations I’ve had over the
last few years, the musicians’ union side goes
to the table with some kinds of proposals about
decibel levels and protection of hearing,” explains
The thing about the regulations protecting hearing
is that it’s not about physical spaces; it’s about the
exposure of musicians. It’s all about the activity and
the time period, and much less about the space
Helen Butcher, acoustic consultant, Arup
Gary Summers