Hi to all, Ive just borrowed the Norrington Magic Flute from my local
Library and I have got two questions:

1) Norrington says that he recording the music using a historical
orchestral setting with the conductor in the middle and the orchestra
arranged surrounding him.  There is no orchestra pit, the orchestra members
can view each other, hear each other and have contact with the action on
the stage.  Has anyone on the list experienced such a setting in a concert
or a production (maybe of The Magic Flute itself)? What is its impact on
the listener?

2) The operas libretto is openly racist and misogynous.  I am no regualar
guest in opera houses.  How do modern productions deal with these
tendencies of the libretto? Thanks for any hints,

PS By the way: mille grazie for all the suggestions acccording the Inner
Core of Classical Music. You are an amazing crowd.

Robert Peters
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