I hadn't quite summed up before I hit the "send" button, apparently.
Anyway...

Conversely, the Met's mini-FLUTE, properly marketed through exploitation of
the Julie Taymor/LION KING connection, could make a tidy sum for the
theater. And besides, wouldn't Mozart's "original intention" be closer
to "lively, vernacular family entertainment" than "four hour grand opera in
a language most of the audience cannot understand?"

It's not as if the Met will never perform the "real" ZAUBERFLOETE again; it
will show up in the repertoire at least as often as it has in past decades,
surely. So who exactly is the loser here?

j.jo.
"Unnatural Acts of Opera" now available on my.yahoo.com:
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