Mozart in Salzburg ain’t what it used to be. Where once a conservative theatrical aesthetic went hand in hand with musicianship in excelsis, dramaturgical deconstruction now reigns supreme, often at steep cost to what one is listening to. We’re in no hurry, honestly, to discover what novelties the director Martin Kušej’s has up his sleeve. At the same time, we can’t wait to hear the score unfold under the richly imaginative, deeply expressive, yet never heavy hand of the former countertenor Raphaël Pichon. His wife Sabine Devieilhe, seen by many as the next generation’s Natalie Dessay, sings Susanna, the bride around whom Figaro’s wedding day revolves. —Matthew Gurewitsch