Breaking the sanctity of the concert hall has also been the precise mission of the most exciting classical music institution in town these days, Opera Philadelphia. At its festival last fall, the organization staged operas that moved nimbly in and out of the traditional concert hall. At the Barnes, audience and performers strolled together in the forecourt making uncomfortable eye contact. At the Wilma, the premiere of We Shall Not Be Moved staged the trauma of the MOVE bombing, with the creators workshopping material with local high school students, and audience members invited to share their memories of the event. Monteverdi and a recent opera examining military PTSD were paired together at the Art Museum. At all of these and others — The Magic Flute at the Academy of Music, a premier of a new Kevin Puts work at the Perelman — rather than hushed reverence I sensed a vibrant, urgent energy. There's nothing wrong with sanctity, but we ought not confuse it with the muffled, quiet sound of a dwindling congregation.