Chicago’s Orchestra Hall is white and gold and gleaming, and relatively small. The balconies arc near the stage, holding the 2,500 audience members close to the musicians in a reverberant clamshell of a space. The room is laid out on a human scale, each musician clearly visible from the seats, the conductor — Riccardo Muti, who has become one of Chicago’s most popular cultural icons — close enough to touch.
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