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 [log in to unmask]