In March, the Salzburg Festival—synonymous with class and prestige—sacked its longtime artistic director Markus Hinterhäuser “due to irreconcilable differences of opinion.” Wouch. Among friends, he had been speaking with special excitement of this summer’s new Carmen, which places his hand-picked prima donna assoluta Asmik Grigorian and the tenor-on-fire Jonathan Tetelman on a path of mutually assured destruction. She’s the smuggler’s moll with a day job rolling ciggies in Seville; he’s a mama-fixated desperado with blood on his hands, marking time in the military as a no-account brigadier. Davide Luciano struts his stuff as a bullfighter who precipitates the inevitable crime passionel. Gabriela Carrizo shares directing and choreography credits with her dance ensemble Peeping Tom. The attitudinizing Graeco-Russian cult-hero Teodor Currentzis conducts. Like Grigorian (who is widely idolized), Currentzis (who is polarizing) leapt to the top of the heap largely thanks to the showcase Hinterhäuser gave both of them in Salzburg. Gone but not forgotten? Yes and no—in truth, he won’t even be gone. Hinterhäuser’s festival dates as the charismatic pianist he is remain on the calendar. On July 29, hear him partner the preeminent lieder baritone Matthias Goerne in an all-Schubert program; on August 11, he pairs up with Igor Levit for Messiaen’s shimmering 50-minute two-piano head trip Visions de l’Amen. —Matthew Gurewitsch