Mozart's first love, and the woman who rejected him. He met her in Mannheim in 1778 and became deeply infatuated. Her younger sister Constanze later became Mozart's wife. Aloysia became a successful soprano at the Vienna court. She died in Salzburg in 1839, three years before Constanze.

The soprano who defined the Salzburg Festival's public face for the first two decades of the 21st century. Her 2002 Donna Anna in Mozart's Don Giovanni was the international breakthrough. No singer since Maria Callas has been so completely identified with a single festival house.

One of the most celebrated mezzo-sopranos of her generation, and Artistic Director of the Salzburg Whitsun Festival (Pfingstfestspiele) since 2012. One of the few singers whose connection to Salzburg is both personal (as performer) and institutional (as director).

Wife of Wolfgang Amadeus Mozart, whom she married in Vienna in 1782. After his death, Constanze dedicated decades to preserving his legacy. She returned to Salzburg in later life, where she died in 1842 and is buried in St. Sebastian's Cemetery.

The greatest baritone of the 20th century and the supreme interpreter of the German Lied. Fischer-Dieskau performed at the Salzburg Festival across four decades. His Lieder recitals there, especially Schubert's Winterreise, are among the most celebrated performances in Festival history. The voice of the German-Austrian musical tradition made audible.

One of the supreme sopranos of the 20th century and a defining voice of the Salzburg Festival. She studied with Lotte Lehmann, placing her in direct lineage with Salzburg's interwar golden tradition. Her interpretations of the Marschallin in Der Rosenkavalier under Herbert von Karajan remain the reference against which all successors are measured.

The defining dramatic tenor of his generation. Kaufmann's appearances at the Salzburg Festival include landmark productions that define what the Festival can be at its most ambitious. He is the tenor the Festival returns to when it wants an event rather than a performance.

The finest bel canto tenor of his generation and the face of Mozartwoche in Salzburg. His connection to Mozart's birthplace city is deep and ongoing. In 2007 at La Scala, he became the first singer in 74 years to be granted an encore mid-performance.

The single most important figure in the prehistory of the Salzburg Festival. Not to be confused with Lotte Lehmann. From 1901, Lilli Lehmann organised the Salzburg Mozart Week, the annual series that directly laid the groundwork for the permanent Festival that Hugo von Hofmannsthal, Max Reinhardt, and Richard Strauss would formally establish in 1920.

One of the greatest sopranos of the 20th century and one of the most significant personalities in Salzburg Festival history. Richard Strauss wrote several roles with her voice in mind. She fled the Nazi regime in 1938 and founded the Music Academy of the West in Santa Barbara. She also played a documented role in launching the Trapp Family Singers.

The most famous operatic tenor in history. Pavarotti made opera accessible to hundreds of millions of people. He performed at the Salzburg Festival on multiple occasions, including a debut recital in 1976 and a celebrated 1983 Idomeneo at the Grosses Festspielhaus. One of the Three Tenors, alongside Domingo and Carreras, conducted by Zubin Mehta.

The defining soprano of the 20th century. Despite her famous partnership with Herbert von Karajan, Callas never actually performed at the Salzburg Festival: the Karajan productions sometimes linked to Salzburg, above all their Lucia di Lammermoor, took place elsewhere (a La Scala staging taken to Berlin in 1955 and Vienna in 1956).

The most versatile of the Three Tenors and one of the greatest singers of the 20th century. Has sung over 150 operatic roles across every major style. Performed at the Salzburg Festival across four decades. His range, intelligence, and longevity across over sixty years are without parallel.