As ever, the problem with the world’s greatest music festival – and we should remember that it is not only a music festival – is knowing where to begin; or, alternatively, to what we might narrow down our choices. Opera, of course, looms large. Last year saw Così fan tutte open the new Mozart-Da Ponte cycle, which is progressing, or regressing, in reverse order. Christoph Eschenbach, Sven-Eric Bechtolf, and the Vienna Philharmonic renew their collaboration in Don Giovanni: notoriously a director’s graveyard. It remains to be seen whether Bechtolf will rise above the curse; in my theatrical experience, only Calixto Bieito and Graham Vick have done so, and even then, not entirely without ambiguity. But at this year’s press conference at the Austrian Ambassador’s Residence, he certainly spoke eloquently about the challenges involved; it was heartening to hear Kierkegaard invoked, and equally heartening to hear Mozart’s drama giocoso being treated seriously as drama. We shall see – and hear… A splendid cast includes Ildebrando d’Arcangelo, Luca Pisaroni, Gneia Kühmeier, and Andrew Staples.