I'll play the contrarian..
Personally I get great results from down low. I've actually come to prefer it in an excellent sounding room when approached creatively in a number of situations. The sense of depth in a good room can be luxurious. Often that's from the center front row, mics at about stage level, about 6-8' behind the conductor. ORTF would work.. I typically prefer to use three baffled DPA 4060 omnis as a not very widely spaced Left/Center/Right array. Using diffuse field response omnis the room ambience is correct tonally for the rear of the orchestra even though there is no direct line of sight. The soloist is close and and the front violins radiate their brightness upwards- which mic'd close from above would be over bright due to both the mic's diffuse response and the voilin's proximity in comparison to the other instruments, but from in front and below they sound warmer and better tonally balanced with the rest of the instrumentation while still within the critical distance for direct sound clarity. It does takes a good room for the back row to retain good clarity, but if so it can sound super lush and ambient with room bloom around the horns and percussion and a listening perspective which is appropriate to actual live listening. Done well, that depth and combination of upfront clarity with ambient depth is down right addictive and quite unusual in commercial classical recordings. It will not sound like those "mics on every instrument- everything in your face with no perspective" totally unatural things so often seen on TV which people who actually go and listen from a good seat find sonically dead and abhorant. Mic'ing from above is the standard approach, designed to limit the difference in distance to the rear compared to the front, but because of that it is also a step towards that unnatural "everything of equal sounding depth and timbre" direction. Go the other way! IMO great classical recordings are about great performances in great sounding rooms with a well balanced yet real depth perspective. It makes everything bigger.
[OK, defence of low mic perpective rant /off]
If you can't put mics out out view, low and near front row center (front row is not the money seats 5-10 rows back and thus often available), place two or three omnis right at the stage lip peering just over it, spaced appropriately. Worth a try and you might be surprised at what you get. Or forget it if not worth the effort an just tell them to place the D50 on the stage at the lip 5 or 6' behind behind the conductor as long as there is enough room there. A mousepad or square of carpet would be a good idea in that case to damp floor vibration.. and don't forget the potential kick hazzard as the orchestra walks on and off.