High expectations when listening to an orchestra

Yes, it can be done. The world needs to get the time-domain fixed. Up until now, fr and radpat. Soon it will truly be 4 dimensional. 

More alcohol, better illegal (or not) 'stimulants'....

Just kidding (maybe, but...)... ;)

Look, your audio gear can only take you so far.  How much you've invested, how anal you've been in selection of same, how carefully you've prep'd your listening environment...

You'll be either delighted or dismayed....same old, same old.
And it seems to play out with one's mood as well.
But, I'm just a weird heretic....subject to illusion delusions...;)

I have had season tickets to the symphony for over 10 years.  I often close my eyes and listen critically for sound stage, the impact of the kettle drum, the tonality of the strings and woodwinds.  I do it to determine what my home system should sound like.  With some fiddling over the years, I can get a very close experience at home when playing the same compositions.

I have also had season tickets to the symphony for about ten years. In retrospect that experience quickly started influencing decisions I made in system upgrades. I had happened to have accidentally bought a house with a large listening area with unbelievably good acoustics. This has been the most critical component. With the system I had put together... which I had dubbed as my reference system I could essentially recreate the essence of the concert experience at home.  One by one I would work on one parameter at a time... I would also zero in the minimum sound... the maximum sound volume. My seats are 7th row center. I would listen to the symphonies reflections from different walls of the very good acoustics of the symphony hall... as well as soloist directly in front of me... with the hole in the violin or piano reflecting top pointing directly at me. It took about forty years for me to get to this point.
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To do this I used a Audio Research Reference preamp, a Pass x350 amp,  Sonus Faber Olympica 3 speakers, 2 B&W 800 sub woofers and a Sim Audio  650 DAC with external power supply upgrade, and ARC Ref phono stage and VPI turntable, Transparent interconnects. The soundstage was fully defined, an oboe or Stradivarius violin sounded exactly right. The full blended massed violins perfect.I listen to the symphony orchestra with my eyes closed. I would have found it difficult to tell the difference. It was a great accomplishment, however in many ways the result of my dead silent and fantastic listening area. 

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Since then, I have significantly upgraded my system and lost the fidelity. My reference system had much high frequency energy which defined the venue... it really high lighted instruments. My new system is much more musical for other types of music... it does not call attention to the detail as much as my other system did. 
My point is, you don’t need to spend hundreds of thousand to do it. It requires an extraordinary listening space and a very synergistic components and a lot of work.

The key reproduction issue on full orchestra is massed violins.
However good your system is, they just sound mushy or glassy with an applied gloss or sheen that is not present in the concert hall.  This certainly degrades the listening experience for me.

This effect seems to be associated with the high frequencies of violins since it does not affect massed cellos or basses.  I think it may arise from the reality that all the violins cannot be precisely tuned and so there are intermodulation artifacts that amount to distortion and are reproduced as that.  Whilst such conditions apply to cellos and basses also, it appears they are not reproduced as distortion.  Indeed, on my system basses especially sound very similar to in the concert hall.

Miller, please don't tell me to buy Moabs.