ABSTRACT
This chapter covers recording the largest forces of all: choir, orchestra, and vocal soloists. Opera and oratorio fall into this category, as do many non-religious and non-staged works for large forces. Recording methods for capturing orchestra, choir, and stationary soloists are explored, drawing on principles outlined in earlier chapters concerned with the constituent parts. Both concert situations and recording sessions are considered, with different placements of chorus and soloist suggested as alternatives, including the advantages and disadvantages to both communication and recorded sound. In the light of modern budget constraints, the recording of live opera is considered, and a case study of practice at the Royal Opera House, Covent Garden, is presented. Mixing opera and suitable perspective is considered in stereo, and also in 5.1 surround sound for cinema and DVD distribution.
