Do you find the first entry vaguely amusing?

Can I like that photo very much without coming across as VERY creepy? Do I get some indulgence points for it being After-Halloween-Day - which I don’t give a toss about, but that’s nobody’s business :D

★★★★ Photography all over the town: Photo Oxford 2025 ranges over the genre in a most satisfactory way, finds @billknight.bsky.social theartsdesk.com/visual-arts/...

Photo Oxford 2025 review - photography all over the town

Photo Oxford 2025 presents a programme of exhibitions, lectures and events ranging from well-known artists and documentary photographers to new talent, spread over the town at 26 venues in colleges, g...

theartsdesk.com

Came back early from Dublin to see how marvellous mezzo Niamh O'Sullivan fared in her first Carmen. Voice often lost in the Coliseum vasts and wide-open big stage, but dramatically perfect. So many good shots by @billknight.bsky.social for @theartsdesk.bsky.social; hard to choose.

Carmen, English National Opera review - not quite dangerous

“Safe” is a word used far too often in ENO’s bizarre new version of a programme, full of uncredited articles, at least two of which look as if they’re AI generated. Everything intimacy director Haruko...

theartsdesk.com

@billknight.bsky.social, who takes wonderful photographs of opera productions, inter alia, for @theartsdesk.bsky.social, came round to document the compelling horror of the fire in my flat, before the clear-up begins. Which it still hasn't, after five weeks. We kick and prod the insurers daily.

A few more snaps from Figaro. I feel like a wedding photographer...

So many classy pleasures in Mariame Clément's new Figaro at Glyndebourne, with a splendid cast led by Louise Alder and Huw Montague Rendall, but the conducting throws a few rocks in the way. Otherwise, sheer delight. theartsdesk.com/opera/le-noz...

Le nozze di Figaro, Glyndebourne review - perceptive humanity in period setting

Over 100 years ago, John Christie envisaged Wagner’s Parsifal with limited forces in the Organ Room at Glyndebourne. He would have been amazed to see it arrive on the main stage this year. But emigres...

theartsdesk.com

Details from Cabaret l'Enfer at the Royal Opera production of Faust

Read Richard Fairman's review in @financialtimes.com of Parsifal at Glyndebourne www.ft.com/content/e9d7...

Glyndebourne’s Parsifal is musically enthralling — review

The staging of Wagner’s opera is problematic, but floating clouds of sound unfold from the orchestra conducted by Robin Ticciati

ft.com

Read Richard Fairman's review in @financialtimes.com of Die Walkure at the Royal Opera www.ft.com/content/a577...

Royal Opera’s new Die Walküre deftly untangles Wagner’s epic — review

Director Barrie Kosky’s London staging has a clear theme, while the cast tackle their roles with conviction

ft.com

Read @davidnice.bsky.social from @theartsdesk.bsky.social on a thrilling Die Walküre at The Royal Opera House www.theartsdesk.com/opera/die-wa... More snaps below

Do go and see Charles Court Opera's Magic Flute at Wilton's Music Hall.

Read @davidnice.bsky.social from @theartsdesk.bsky.social on Mary Queen of Scots at English National Opera see theartsdesk.com/opera/mary-q... snaps here

I took this picture in 2013 as part of my exhibition The Refugee's Gift. Hasan has been in my thoughts in the last few days. I hope he has been able to find his family.

Read David Nice from@theartsdesk.bsky.social on Pirates of Penzance at English National Opera. He liked it. More snaps below www.theartsdesk.com/opera/pirate...

Here's a snap from the current production of Gilbert and Sullivan's Pirates of Penzance at English National Opera. The Pirate King (John Savournin) and Ruth (Gaynor Keeble) are discussing a paradox with Frederick (William Morgan)