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The Performance We know that Aeneas is going to sail away. We know it before he arrives, before he declares his love to Dido, and certainly before the Sorceress and her witchy acolytes get all eye-of-newt about it. But when your opera house is the great hall under the Cutty Sark, and the clipper’s 200ft copper hull is rearing up over your head, it’s impossible to forget the tragedy that Purcell’s compact drama has in store. The Staging So you have to wonder why Andrew Staples, director of the Monteverdi Choir’s semi-staging, felt the need to work quite so hard? The space is the staging. You can try to ignore it (no mean feat when the museum’s collection of antique figureheads flanks the stage in a surreal guard of honour: Florence Nightingale rubbing painted wooden shoulders with Disraeli, Sir Lancelot and a selection of buxom lovelies), but you can’t work against it; you simply won’t win. The Musical Performance Close your eyes, though, and this was a rich account. Conductor Jonathan Sells rode every darting, eddying current in the score, the English Baroque Soloists a colourful, abandoned force in celebration, infinitely restrained elsewhere. Best of all were unaccompanied choral moments – “With drooping wings”, or the two interpolated Funeral Sentences – where movement and time stilled together, voices absolutely unified in their inflection, carving the music’s emotions with devastating clarity. The Vocal Performances The space’s natural resonance allied to some big voices made for an exciting central drama. German-Egyptian mezzo Karima el Demerdasch (definitely one to watch) was a voluptuous-voiced Dido, her suicidal queen still coming into focus. Johanna Wallroth’s radiant, exuberantly ornamented Belinda and Bethany Horak-Hallett’s sumptuous Sorceress supplied the rival musical poles, tugging us from good to ill and back again. And what a treat to have a properly baritonal Aeneas in Hubert Zapiór – a worthy lover and sparring partner for Demerdasch, a hero almost worth dying for. The Future of the Performance Next month the show travels to Norway for the Bergen festival. Cut loose from its nautical anchor, I suspect it’ll pick up several dramatic knots.

President Donald Trump used his social‑media platform on Thursday to declare that the United States will send an extra 5,000 troops to Poland, a move that overturns a prior decision to reduce the American footprint in Europe. Trump’s Surprise Troop Deployment to Poland The announcement was framed as a personal endorsement of Poland’s newly elected president, Karol Nawrocki, whom Trump praised for his “friendship” and “shared security vision.” Polish Foreign Minister Radek Sikorski welcomed the decision, saying it would keep the U.S. presence “more or less at previous levels.” Details of the 5,000‑Soldier Reinforcement Date of announcement: Thursday, 22 May 2026 Units involved: Not specified; Pentagon has not clarified whether the troops are redeployed from Germany or newly assigned. Previous plan: A scheduled deployment of 4,000 troops was scrapped a week earlier; an earlier proposal to withdraw 5,000 troops from Germany was also announced. Polish reaction: President Nawrocki and Foreign Minister Sikorski praised the move as a sign of “good alliances based on cooperation, mutual respect, and shared security.” Numbers Behind the Move: Troop Levels and Funding While the exact financial outlay was not disclosed, Warsaw traditionally contributes a significant share of the cost for U.S. forces on its soil. Analysts note that maintaining an additional 5,000 troops could increase Poland’s annual contribution by several hundred million dollars, depending on the force composition. Current U.S. troop presence in Poland: Approximately 4,000–5,000 personnel. Potential total after deployment: Up to 10,000 U.S. soldiers. Comparison with Germany: The Pentagon recently announced a reduction of combat brigades in Europe from four to three, signaling a broader re‑balancing of forces. Strategic Ripple Effects Across NATO The abrupt policy shift fuels uncertainty among NATO allies that have already expressed frustration with Trump’s “America First” stance, especially his criticism of European defence spending and the U.S.–Israeli war on Iran. NATO Secretary‑General Mark Rutte welcomed the Polish reinforcement but warned Europe must become less dependent on U.S. troops. Swedish Foreign Minister Maria Malmer Stenergard described the situation as “confusing” for both allies and U.S. officials. U.S. Secretary of State Marco Rubio is slated to discuss NATO burden‑sharing at the upcoming foreign‑ministers meeting. European concerns now extend to other U.S. statements, such as threats to annex Greenland, further straining alliance cohesion. What Comes Next for Transatlantic Defense Analysts predict a short‑term scramble within NATO to clarify the composition and timeline of the Polish deployment. Potential scenarios include: Redeployment of troops from Germany to Poland, solidifying a forward‑focused posture on the Eastern flank. Gradual scaling back of U.S. forces in Central Europe, paired with increased European defence investments. Intensified diplomatic efforts by the Pentagon and State Department to reassure allies ahead of the NATO foreign‑ministers summit. In the coming weeks, the alliance’s ability to present a unified response to Russian aggression in Ukraine will hinge on how quickly Washington can translate the announced numbers into a clear, predictable force structure.

The Economic Crisis in War-Torn LebanonBeirut, Lebanon – Mario Habib, a 51-year-old barber who opened his shop in 2006 just before war broke out between Israel and Hezbollah, is now living through another conflict. Twenty years later, his business in Furn el-Shebbak neighborhood is struggling as Lebanon's economy deteriorates under the weight of renewed war and global fuel crisis. "The price of running the generator is killing me," Habib said. "Everything has gotten more expensive, the price of petrol doubled, the supermarket is more expensive, even the products [I use for my business] got more expensive."Regional Conflict Disrupts Fuel Supplies and Economic GrowthIsrael's war on Lebanon and the broader US-Israel war on Iran are severely damaging Lebanon's fragile economy. Supply issues have particularly affected oil from the Gulf region, which has largely stopped flowing since the US and Iran blockaded the Strait of Hormuz. In Lebanon, which was already suffering from a severe economic crisis, there is less work and people are losing their jobs at an alarming rate.Despite Lebanon's government expressing optimism about the country's economy in 2025, with the World Bank recording a modest 3.5 percent GDP growth that year, the renewed conflict has erased those gains. In March 2026, inflation reached an 18-month high in Lebanon. Lebanon's Bank Audi now predicts that there will be 0 percent GDP growth in 2026 if the war continues.Economic Indicators Show Deteriorating ConditionsInflation reached an 18-month high in March 2026Bank Audi projects 0% GDP growth for 2026 if war continuesLebanon had recorded 3.5% GDP growth in 2025Reconstruction and recovery costs estimated at $11bn by World BankWar-related losses in 2026 estimated at $3bn (with more expected)Oil prices have increased approximately 65% since MarchCompounding Crises Create Perfect Economic StormLebanon's current economic crisis is not solely the result of recent conflicts. The country has been facing multiple compounding crises for years:2019: Financial mismanagement led to a banking crisis, cutting people off from their savings2020: Beirut port explosion killed 218 people and devastated infrastructure2021-2022: Worsening state services and mass emigration2023-2024: Hezbollah-Israel war displaced thousands of Lebanese2024: Israel intensified attacks, displacing more than one million people2026: Renewed Israeli attacks have displaced over 1.2 million people"This is a war that comes after a war," said Sami Zoughaib, an economist and research manager at The Policy Institute, a Beirut-based think tank. "It comes after institutional collapse. It comes after one of the worst financial crises in history."Societal Impact and Economic VulnerabilityThe economic crisis is disproportionately affecting Lebanon's most vulnerable populations. According to the World Bank, agriculture, commerce, and tourism—sectors accounting for 77 percent of economic losses—are key income sources for low-wage and informal workers now at significant risk.Remittances, which were approximately $6.6bn in 2023, are expected to drop significantly in 2026 due to rising oil prices. The 65% increase in oil prices since March particularly affects remittances from Gulf countries, which are crucial to Lebanon's economy.The displacement crisis has mostly impacted Lebanon's Shia community, from which Hezbollah draws its support. However, economists warn that the economic fallout could exacerbate societal divisions, with political elites potentially scapegoating displaced people for the country's economic problems—a pattern seen in the past with Syrians and Palestinians.Future Outlook: Economic Collapse or Recovery?Should the current pattern of conflict continue, Lebanon's economy could soon become unviable, with many investors deciding that opening or operating businesses is not worth the potential returns. The impact has been felt across the country, with no community left untouched by the economic consequences of war.While some areas have been hit harder than others, economist Sami Zoughaib warns that Lebanon may be reaching a point of no return. "That is, for me, very dangerous," Zoughaib said, referring to the potential for political elites to exploit economic divisions for their own gain.For ordinary Lebanese citizens like Mario Habib, the immediate concern is survival. Despite rising costs and reduced business, Habib refuses to raise his prices. "I always prefer that the person who comes here is comfortable," he said. "A lot of things are more expensive, but I prefer to be conservative on this. I feel like if you come to me, you want to be happy and relaxed."

Executive Summary: A Misfire in Netflix’s Nostalgia PushThe streaming giant Netflix has revived a dated British comedy formula with *Ladies First*, but the Guardian finds the result an excruciatingly unfunny, high‑concept experiment that wastes the star power of Rosamund Pike and Sacha Baron Cohen.Plot Premise and Critical ReceptionThe film imagines a world where gender roles are reversed: the protagonist Damien Sachs (played by Sacha Baron Cohen) wakes up to find women dominating the workplace while men struggle for relevance. Rosamund Pike portrays a ruthless executive version of her character, yet even her performance cannot rescue the script, which the reviewer describes as a “criminal waste of talent.”Runtime and Production ContextAt a brief 84‑minute length, the movie attempts to pack a “what‑if” scenario alongside references to other gender‑swap comedies such as *I Feel Pretty* and *Isn’t It Romantic*. The review notes that the film is a remake of a French comedy, highlighting Netflix’s strategy of repurposing existing IP rather than investing in original, high‑quality content.Implications for Netflix’s Comedy PortfolioThe negative appraisal suggests that Netflix’s reliance on nostalgic, low‑budget comedies may erode its reputation for delivering fresh, engaging humor. By prioritising cheap concepts over substantive storytelling, the streamer risks alienating both talent and audiences seeking smarter satire.Future Outlook for Gender‑Satire FilmsGiven the film’s failure to blend humor with insightful commentary on workplace gender dynamics, the review predicts a cautious approach from studios and streaming platforms when green‑lighting similar gender‑swap premises. Success will likely depend on sharper writing and more nuanced performances rather than repetitive, one‑joke setups.

The Unlikely Union of Mabe Fratti and Bill Orcutt This dreamlike, intimate album unites one of experimental music's current stars with one of its most prolific veterans. During an interview promoting 2024's acclaimed Sentir Que No Sabes, 34-year-old Guatemalan cellist Mabe Fratti praised Bill Orcutt, the 64-year-old US guitarist whose disjointed, aggressive four-string playing – honed in 90s noise-rock band Harry Pussy – graces more than 100 records. Orcutt reached out, and they started sharing files. While their friendship is new, Almost Waking reveals a deep kinship between these true originals. The Album's Conversational Duets The album centres on conversational duets between Fratti's cello and Orcutt's guitar. On the overdriven Forced & Forced & Forced, Orcutt's trademark string-snapping plucking is matched by Fratti's fragmented, agitated bow-scraping. Just as both players can wrestle with their instruments, they know how to make them feel like voices. On Steps of the Sun, the cello and guitar harmonise tenderly and take turns as lead, performed with the complex phrasing and dynamism of a sung duet. Vocal Appearances and Musical Chemistry Fratti's soaring vocals appear on two tracks. El Inicio Es Cuestión De Suerte is a stately ballad set to a looping guitar melody, while Todo Puede Ser Error has more showmanship, featuring a jangling Orcutt solo. If the instrumentals reveal how naturally Fratti fits in Orcutt's spidery world – her lusher, warped art-pop shaped by the same fragmentation – these tracks prove his adversarial style can work in more melodic settings. While Almost Waking feels like an aside for Fratti and Orcutt, both are reframed in this wonderfully alive-sounding album.

The LeadAs we celebrate Miles Davis's centenary, his 1957 film soundtrack "Ascenseur pour l'Échafaud" is being repackaged with restored audio, offering a fresh look at the jazz legend's innovative approach to film scoring and improvisation. This mostly improvised soundtrack, created over one night in a Paris studio, showcases Davis's unique harmonic openness that would later influence his masterpiece "Kind of Blue."The Creative Process Behind the SoundtrackComposed by Davis from little more than a handful of chords, this music was mostly improvised straight to a screen showing budding New Wave director Louis Malle's crime thriller "Ascenseur pour l'Échafaud" (Lift to the Scaffold), over one long night in a Paris studio in December 1957. His fine local quartet included expat New York bebop drummer Kenny Clarke, and their harmonic openness created a spacey, ethereal soundworld for a story following two lovers who think they've committed the perfect murder of an inconvenient husband, and the mishaps, farces, ecstasies and fears that populate the long night of their undoing.The Musical Landscape of NoirDreamily sensual sounds mirror misplaced hopes; there are car-chase scurries (Miles's fast-bop horn virtuosity was formidable in this period), desolately bluesy accompaniments to actor Jeanne Moreau's confused wandering in search of her partner, bar-room clamour in the trumpet/tenor-sax counterpoint between Miles and saxist Barney Wilen – but all the music stands alone, without images. A quiet slow-burn, but simmering with all of Miles Davis's timelessly extraordinary light and heat.Jazz Tributes and Contemporary ConnectionsThis month marks Miles's centenary, and a clamour of celebrations of a musical life that led him to be dubbed (by Duke Ellington, allegedly) the "Picasso of jazz" for the many styles he explored. Alongside the reissue of "Ascenseur pour l'Échafaud," other artists are paying tribute: Norwegian guitarist Hedvig Mollestad's power-trio Weejuns nods to Miles Davis' 1969 "Bitches Brew" with "Bitches Blues"; guitarist Jeff Parker unveils fascinating ways of emerging from minimalism to lyricism; and Jason Miles, a former Miles Davis keyboardist, revisits that groove-centric era in his own personal way.The Legacy of ImprovisationWhen Miles Davis was dying in September 1991, an invisible, neighbouring trumpet player began playing homages to Miles' voice-like, blues-inflected melodies instead. It was a poignant personal tribute to a unique instrumental sound, and a unique imagination, that had profoundly enriched 20th-century music. The reissue of "Ascenseur pour l'Échafaud" continues this legacy, showing how Davis's approach to improvisation and harmonic openness continues to influence musicians today.

The Lead: US-Cuba Relations Reach Critical PointUnited States President Donald Trump and Secretary of State Marco Rubio have issued new threats of military action against Cuba, escalating tensions between the two nations. The Trump administration, with Cuban-American Rubio at the forefront, has been increasing pressure on the communist-led island in what appears to be an attempt to institute "regime change," including a fuel blockade that has pushed the Cuban economy toward collapse.The Escalation: Military Buildup and Legal ActionsThe push against Cuba has accelerated in recent days, with the US indicting Cuba's former President Raul Castro and gathering military forces in the Caribbean. Since returning to office, Trump has implemented numerous sanctions against Cuba, including a fuel blockade that has caused blackouts and protests across the island.On Thursday, Adys Lastres Morera – sister of a high-ranking executive of the Grupo de Administracion Empresarial SA (GAESA) conglomerate, controlled by Cuba's military – was arrested. The US military has also announced that several navy ships, including an aircraft carrier, have arrived in the Caribbean to participate in maritime exercises with partners in Latin America.The Rationale: National Security ConcernsRubio told reporters that Cuba has been a national security threat for years due to its ties with US adversaries Russia and China. Rejecting suggestions of "nation building," Rubio emphasized that the issue is one of "national security." While stating that a negotiated agreement is the US "preference," he indicated that the path of diplomacy with Cuba is "not high.""Their economic system doesn't work. It's broken, and you can't fix it with the current political system that's in place," Rubio said. He added that Cuba has historically "bought time and waited out" previous administrations, but "they're not going to be able to wait us out or buy time. We're very serious, we're very focused."The Presidential Stance: Trump's Personal CommitmentPresident Donald Trump separately told reporters that US presidents have considered intervening in Cuba for decades, but that he appears likely to be "the one that does it." Trump expressed willingness to take action, stating he would be "happy" to intervene militarily in Cuba if necessary.International Response: Condemnation and SupportIn response to the US actions, Cuban Foreign Minister Bruno Rodriguez criticized Rubio for falsely labeling Cuba a threat. "The US secretary of state lies once again to instigate a military aggression that would provoke the shedding of Cuban and American blood," Rodriguez said.Both China and Russia have criticized the US pressure on Cuba. China stated it "firmly supports" Cuba and urged the US to de-escalate tensions and "stop threatening force." Kremlin spokesperson Dmitry Peskov commented that "under no circumstances should such methods – which border on violence – be used against either former or current heads of state."Historical Context: The Venezuela PrecedentAnalysts suggest that Trump and Rubio may be considering a similar approach in Cuba to the regime change operation conducted in Venezuela earlier in 2026. In January, Venezuelan President Nicolas Maduro and his wife were kidnapped in a military operation and brought to the US, where Maduro was charged with "narcoterrorism."Future Outlook: Aid Offers and Potential EscalationRubio noted that Cuba had tentatively accepted an offer of $100 million in aid in return for reforms, though it remains unclear if the US would accept Cuba's terms, as Washington insists on circumventing the military-backed conglomerate GAESA. The situation remains volatile, with both sides digging in their positions as the US continues its military buildup in the region.

The LeadIn the stolid world of German football, few moments have been as seismic as Bayer Uerdingen's 2-1 victory over Bayern Munich in the 1985 German Cup final. This giant-killing act, now celebrated as the 'Miracle of Berlin,' represented a rare inversion of the natural order in a nation dominated by football's traditional powerhouses.The Historic UpsetOn May 26, 1985, at Berlin's Olympic Stadium, Uerdingen—then a modest club from Krefeld with a population of around 300,000—defeated the seven-time cup holders Bayern Munich. The Bavarians, who had also won three consecutive European Cups between 1974-1976, were considered football aristocracy. Horst Feilzer and Wolfgang Schäfer scored for Uerdingen, while Dieter Hoeness netted Bayern's only goal. The victory was particularly significant as it was the first time the DFB-Pokal final had been staged in the former German capital.Under coach Kalli Feldkamp and chairman Arno Eschler, Uerdingen had only been promoted to the Bundesliga a couple of years earlier. Their team was devoid of household names, featuring the Funkel brothers (Friedhelm and Wolfgang) in midfield, while Bayern boasted stars like a young Lothar Matthäus and Klaus Augenthaler.The Rise and FallThe cup victory was not a one-off for Uerdingen. The following season, they reached the European Cup-Winners' Cup semi-finals, with their quarter-final tie against East Germany's Dynamo Dresden becoming club lore as the 'Miracle of the Grotenburg' after an improbable second-leg comeback. That match attracted 18 million television viewers, and the club finished third in the Bundesliga in the season after their cup triumph.Despite this brief period of success, Uerdingen's star faded. The club, backed by chemicals giant Bayer AG, could not sustain their upward trajectory. Today, they remain a distant memory in German football, their moment of glory a footnote in the sport's history.The LegacyUerdingen's victory remains one of the greatest cup shocks in German football history. It demonstrated that even in a sport dominated by established powerhouses, underdogs could occasionally triumph. As chairman Arno Eschler famously hoped after the victory: 'Ich hoffe dass dies keine einmmailie' [I hope this is not a one-off]. While Uerdingen couldn't build on their success, their 'Miracle of Berlin' continues to be celebrated as one of football's great fairy tales.

The Lead: A Bold Re‑imagining of Garland’s Final YearsThe Guardian’s review opens by noting that Drag Race star Jinkx Monsoon brings her celebrated Judy Garland impersonation to a new narrative context—a love triangle set in 1960s London. The revival of Peter Quilter’s 2005 play shifts focus from Garland’s early exploitation to her later struggles with addiction and a fraught personal life.The Production’s Narrative Twist: Love, Addiction, and Queer IconographyMonsoon’s Garland is caught between steadfast pianist Anthony (Adam Filipe) and opportunistic suitor Mickey (Jacob Dudman).The script juxtaposes private hotel scenes with public performances at Talk of the Town, highlighting the clash between fame and personal decay.Queer themes surface through Anthony’s admiration and Mickey’s homophobic contempt, underscoring Garland’s status as a queer icon.Musical Direction and Visual Design: Orchestrating EmotionMusic direction by Nick Barstow and arrangements by Leo Munby anchor the drama, with Garland’s torch songs—"Just in Time" and "You Made Me Love You"—serving as emotional pivots.Designer Jasmine Swan creates a stark white‑curtain stage, while lighting designer Prema Mehta introduces a Technicolor‑inspired transition that mirrors Garland’s cinematic legacy.Critical Reception: Performance Nuances and Structural FlawsMonsoon’s vocal performance is praised for its dynamic range, capturing both triumph and fragility.The review notes repetitive hotel scenes that, while authentic to addiction’s grind, can feel grindingly static.Supporting characters are deemed functional, serving more as narrative devices than fully fleshed personalities.Future Outlook: Potential for a One‑Woman ShowcaseThe critic suggests that Monsoon’s talent hints at a possible solo rendition of Garland’s story, which could amplify the intimate connection she already establishes with the audience. The show runs at Soho Theatre Walthamstow until 21 June, offering theatre‑goers a chance to experience this layered homage before any further developments.