(Photo: Richard Hubert Smith) Whether you like Barrie Kosky’s stagings or not, they always have an enormous presence. Think of the Marlene Dietrich-inspired gorilla suit in his “Carmen” for the Royal Opera House, the inflatable Beckmesser caricature in the Nuremberg trial “Meistersinger”, or the eerie sea of ash and candles in his “Saul” for Glyndebourne. The latter, highly acclaimed, meant {…}