EditorialJürgen Flimm, director of the Salzburg Festival, seated in the new concert hall at the Morgan Library in New York in November 2007. (Fred R. Conrad/The New York Times)
EditorialSalzburg, Austria, was closed on Monday, Nov. 22, 2021, after the country entered a national lockdown as Europe experiences a menacing fourth wave of the coronavirus, with soaring rates of infection. (Laetitia Vancon/The New York Times)
EditorialA Christmas market in Salzburg, Austria, was closed on Monday, Nov. 22, 2021, after the country entered a national lockdown as Europe experiences a menacing fourth wave of the coronavirus, with soaring rates of infection. (Laetitia Vancon/The New York Times)
EditorialStefan Weber, an Austrian communications professor and self-appointed plagiarist hunter, at Mooncity, a museum in Salzburg, Germany, on July 29, 2021. (Laetitia Vancon/The New York Times)
EditorialThe soprano Asmik Grigorian, who is singing at the Bayreuth and Salzburg festivals this summer, in Bayreuth, Germany, July 26, 2021. (Laetitia Vancon/The New York Times)
EditorialA flag with the Salzburg Festival?s logo, an image that touts the venerable celebration of music and drama from buses, along sidewalks, in the windows of establishments and on tourist pamphlets every summer, flies from the Staatsbr?cke bridge in Salzburg, Austria, Aug. 6, 2021. (Laetitia Vancon/The New York Times)
EditorialChristian Van Horn, center, in the title role of “Mefistofele,” revived at the Metropolitan Opera after Robert Carsen first staged it in 1988, in New York, Nov. 5, 2018. (Sara Krulwich/The New York Times)