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This year saw the tenth and last Salzburg Festival under the artistic direction of Gerard Mortier, and the operas presented in the first part of that festival gave a reasonable picture of the strengths and weaknesses of Mortier's reign. A firebrand young opera intendant (in Brussels) of uncompromising avant-garde principles, he was hired by the Salzburg Festival management in order to move away from, if not obliterate, the image of the Herbert von Karajan years: the big star performances (allied to almost a trade show for record companies) at high prices for affluent continentals.
The task was Sisyphean, given the implacable opposition of many ticket buyers, the ...