At the heart of Graz’s cultural scene, the Helmut List Halle is a shining testament to the power of collaboration between engineers and artists.
In 2002 the group conceived of a modern multifunctional art space and cultural center born out of the shell of an old factory. Just one year later it was ready to meet the world. The Helmut List Halle was officially opened to the premier of Beat Furrer’s masterpiece, Begehren. The project brought together expertise from a group of conductors, composers, artists, and engineers such as Nikolaus Harnoncourt, Beat Furrer, Gerd Kühr, Bernhard Land, Professor Karlheinz Müller, Mathis Huber, and AVL CEO Helmut List. As a result has become known as a triumphantly symbiotic art and science project.
Acoustic Masterpiece
The new building, realized by architect Markus Pernthaler, has set a new standard for contemporary performance spaces. Marrying maximum flexibility with concert acoustics and the strict criteria of opera halls, the wooden-framed venue can be acoustically changed to meet the needs of the performance taking place within it. Whether it’s theatre performances, classical music, conferences or an electronic music festival, the unique, multi-function building can change its internal profile to provide the perfect sound environment. This merging of science and art makes the building a key cultural venue in Graz and a world-class venue for any kind of performance.
“The liaison of art and science, of technology and modern cultural productions, is reflected in the synthesis of old industrial architecture and contemporary design.”
Markus Pernthaler
“This new hall is important, especially because of its high acoustic demands.”
Valery Gergiev, ORF
February 21st, 2003
“This hall, this project – not many cities can be proud of such a venture.”
Neue Zürcher Zeitung
January 11th, 2003
“The hall already impressed with transparency and flexibility at Beat Furrer’s musical theatre, Begehren. This time it was filled with the soundscape of a large symphonic orchestra – and the hall mastered the challenge, rendering the sound compact and frothy even at the most dense forte passages.”
Der Standard
February 8th, 2003