Are you troubled by the imaging of a symphony orchestra?

In recent years, I have loved to hear the Oregon Symphony. A truly world class organization. I
have preferred to sit in the first 3-4 rows on the far left. There is the best way to watch the conductor, Carlos Kamar. And the soloists. And feel the violins.
My memory of sitting many rows back I still seemed to be aware of section placement. Especially watching the conductor as they notify cues all around. Interesting to see the link of the different orchestra arrangements. I believe I remember “standard arrangements” in several different symphonies. I will try to listen to symphonic works as a blend but it clearly, for example, I always hear trumpets on the back right.

+1 @melm 

My memory of sitting many rows back I still seemed to be aware of section placement. Especially watching the conductor as they notify cues all around.

This is why I like mid hall seating. I hear the proper placement of instruments, yet the orchestra presents a cohesive sound.

@mglik 
Can you describe the image that you hear on recordings?
Are these older or modern recording techniques?

I listen to orchestral music very often. On most all my recordings, the musicians are where they should be. It is very important to me that they are. But, the quality and method of the recording is also very important in making one recording being better than another.

If this is happening on all your orchestral recordings, I would have to assume something else is amiss. Perhaps start with checking speaker placement, room treatments, etc.

I have heard several halls where it makes little difference whether you 
sit in the front row or the last in balcony, acoustics are  that good .

Of course they are VERY rare .

My experience with concert halls is, sadly, limited to US venues.  Severance Hall in Cleveland comes to mind as a venue where I have yet to sit in a compromised acoustic.   The first row at Severance is way further back than is usual.

Another US venue that I have found to be superb is the Palladium in Indy.  It is a new hall, and benefited from a very careful and deliberate design to ensure superb acoustics. 

Other halls have exhibited a wide range of diversity, and there have been a few that are badly compromised no matter where you sit.

It is my understanding that there is not a direct correlation between halls that are good for listening being also good for recording.   I've not generally found the Cleveland recordings in Severance to be of similar quality to the old days in the Masonic Hall.