What's missing here is that a live performance is also a visual performance. What the hall does not really do, the mind does with the spatial cues from the eyes. Sure the sound may be more homogenous if you close your eyes and convince yourself of it but by using your eyes the "pinpoint" accuracy is evident. I have found that when a recording is good, it allows that visual cue that is reminiscent of the live venue through imagination. I think it is absolutely necessary, especially at the recording stage, to get this right. I recently was given my first SACD demo and wherever in the chain the fault lay it sounded like the hi-hat was 10' away from the floor tom and the bassist about 15' away from the guitarist who was standing exactly where the speaker was. What a mess. When it is done right you can look, with your minds eye, at the bassist where he would be on stage and listen more closely this time. Next time you get caught by the lick on the piano and the eyes physically dart away from the bass.(even when they are shut) It is by this precision that you hear something new each time.
Classical music most definitely has "soundstaging" and the very specific seating of the orchestra reflects that and is used by composers and conductors creatively for effect.
Classical music most definitely has "soundstaging" and the very specific seating of the orchestra reflects that and is used by composers and conductors creatively for effect.