_root.TextBody = "The best of Utzons many ingenious design solutions to the problem of site access was the inclusion of the Central Passage. \r\rThis passage runs underneath the podium at ground floor level from south to north for almost the entire length of the House, with the two main auditoria on either tdcOne of Utzons many ingenious design solutions to the problem of site access was the inclusion of the Central Passage. This passage runs underneath the podium at ground floor level from south to north for almost the entire length of the House, with the two main auditoria on either tdcOne of Utzons many ingenious design solutions to the problem of site access was the inclusion of the Central Passage. \r\rThe Concert Hall is the largest performing space in the Sydney Opera House. Upon entering, the first reaction is usually to the sheer size of the Hall; with a top ceiling height of twenty two metres at the crown and having a volume of 24500 cubic metres, it can seat up to 2679 people. High in the wall, to the rear of the choir stalls, looms the Grand Organ, which was completed in 1979 after 12 years of construction.\r\rFirst known as the Major Hall, the Concert Hall, like many of the other theatres in the Opera House, has a rather involved and colourful history. The Major Hall was planned as a dual purpose theatre, intending to house both opera and symphony, with a proscenium stage, and space behind and below the stage for scenery changes and storage. Only after a great deal of discussion, research, and drama did the space that we know as the Concert Hall come to realisation.\r\rAfter J�rn Utzon left the construction in February 1966, three new architects were appointed as an architectural panel. They were Peter Hall, Lionel Todd and David Littlemore. In June 1966, the Australian Broadcasting Commission (ABC), who was the force behind the Sydney Symphony Orchestra, produced a set of firm requirements for the Major Hall. It was nine years after building had commenced. \r\rThese requirements were daunting, especially in conjunction with the demands of the NSW Government. As Peter Hall struggled to keep abreast of these demands, he was sent on a 3 month overseas tour of performing arts centres and meeting with renowned theatrical consultants. When he returned, he proposed that the Major Hall should no longer be a dual purpose performance space, but a Concert Hall that would attempt to fulfil all of the ABC�s wishes. Opera would be moved to the Minor Hall.\r\rPeter Hall did have good reasons for dedicating the Major Hall to symphonic and choral concerts. Acoustically, opera requires a reverberation time of no more than 1.4 seconds at the ideal. Symphony requires a reverberation time of 2.0 seconds. To attempt to build a hall that would accommodate both would be to seriously compromise the acoustic excellence of either.\r\rThe decision to change the primary function of the Major Hall was made well into the construction phase of Stage Two (the Shells), which brought a few challenges to the architects. Mainly, what to do with the massive area below the Major Hall stage that was to house the stage machinery lifts. Their solution was to be a great asset for the Opera House. The huge area left by the removal of the stage machinery was perfect for a recording and rehearsal room. This space is now known as The Studio.\r\rThe space above the stage that had been created for the stage tower and proscenium arch was also now not required. This space remained and was incorporated into the spectacular ceiling design. There were predictions that the sound would fly directly up into this space and become too quickly absorbed. These concerns were met with alterations making the vertical space not so pronounced, giving the ceiling more of a horizontally rectangular shape. Finally, 21 acoustics �clouds� were suspended above the stage, designed to quickly reflect the sound back to the performers. These iconic clouds, still in use, are doughnut shaped and made of acrylic.\r \rThere are 1750 white birch veneer panels on the ceiling of the Concert Hall. These panels contribute to the acoustics of the hall, and also provide a striking vision for audience and performers alike. This same white birch veneer was also used for the upper walls and for the seats, which are covered with 100% Australian merino wool, dyed magenta. An Australian hardwood, Brush Box, was laminated (forming a product called glu-lam) and used in panels for the lower walls, floors, stairs, boxes, stalls, terraces and the stage.\r\t\rThe first official performance in the Concert Hall was held on Saturday, December 29, 1973. It was an all Wagnerian programme performed by the Sydney Symphony Orchestra, conducted by Charles Mackerras. Over the years, the Hall has been host to many famous people. Petula Clark, Carol Burnett, Peter Allen, Olivia Newton-John, Danny Kaye, Sammy Davis jr, Anthony Warlow, Julie Anthony, Clive James, Billy Connolly, and Bob Hope to name a few.\r\rHowever, it is not only musical performers who have graced the stage. The Concert Hall has been witness to �Escapades on Ice� - a venture into ice dancing, numerous Hypnotism Evenings, Sumo Wrestling and Australian Wool Corporation Fashion Parades. It hosted the 1981 Mr Universe Competition. The winner of that remarkable event was Arnold Schwarzenegger.\r";
