Munich

MUNICH, Germany — Nicholas Brownlee had just fallen in love with opera and was eager to see if his emerging bass-baritone voice could handle Richard Wagner’s music. It did not go well.

“I kept reading how you have to wait to sing this big repertoire,” Brownlee said. But there was one bit of Wagner — Wolfram’s “Song to the Evening Star” from “Tannhäuser” — that’s “a little bit lighter. I figured it was more appropriate.”

So he brought it to his teacher, Thomas Rowell, at the University of South Alabama and asked what he thought.

“I just laughed at him and told him to go away,” Rowell recalled. “He knew that big voice was there, and he was so eager to try on the clothes, but they didn’t fit for a while. It was still a very young instrument.”

Reminded of that exchange nearly 20 years later, Brownlee smiles. “I was a bit ambitious,” he said. “But this was just me.”

Now that ambition — what he calls “a fire in my belly that burns brighter every day,” — has helped propel Brownlee to the very top of his profession at age 37. And he’s done it by singing a lot of Wagner.

Brownlee recently made his debut as Wotan, embattled king of the gods, in “Die Walküre” at the Bavarian State Opera House, part two of a complete “Ring” cycle directed by Tobias Kratzer. He had previously sung the role in “Das Rheingold,” the opera that opens the cycle.

The critics reached for superlatives. “A heroic baritone straight out of a textbook,” wrote Markus Thiel in Merkur, “with a powerful, resonant voice, a force of nature.” Carlota Moseguí in Platea Magazine praised his voice and said Brownlee “possesses all the qualities to become the definitive Wotan of his generation.”

Next, Brownlee heads to the Wagner shrine in Bayreuth, Germany, where he will star as the title character in “Der Fliegende Holländer” (“The Flying Dutchman.”) And his upcoming season is one Wotan after another.

“It’ll be ‘Siegfried’ time in Munich, then ‘Walküre’ time in Buenos Aires, then ‘Rheingold’ time in Barcelona,” he said. Add to that two of the “Ring” operas in Frankfurt and then two complete cycles next summer back in Munich.

“It’s a once-in-a-lifetime thing to have a student who goes that far, especially from a small regional state university like ours,” said Rowell, who remains close friends with Brownlee and officiated his wedding to mezzo-soprano Jennifer Feinstein. “I have to pinch myself. I’m enjoying it vicariously.”

Does Brownlee worry at all about damaging his voice from so much heavy singing?

“I don’t think you’re supposed to say this, but no, not really,” he replied. “We like to put this big stamp on Wagner and say ‘Be Careful!’” But he said he finds the demands of each opera different enough to help him avoid burnout.

Still, he promises that his roles the following season will be more varied, including a return to one of his favorites — Baron Scarpia in Puccini’s “Tosca.” And down the road are two Verdi roles — the villainous Iago in “Otello” and the comic Falstaff.

Of the latter, he said, “I want to flex a different muscle. I talk fast, I’m a bubbly, fun guy, but what I do on stage is so serious all the time. Boy it would be fun to just be a jolly fat guy!”

Just how did a boy from a working-class family in a small town outside Mobile, Ala., become one of a handful of go-to singers in the world for these demanding roles?

His first success as a vocalist actually came as the youngest grandchild in a large extended family, performing Conway Twitty imitations to grab attention. Classical music had to wait until he fell under the spell of his high school choral director.

When he went to college, he planned to study conducting, but Rowell heard him sing and cajoled him into joining the Mobile Opera chorus.

“I went in the first day and I hated it,” Brownlee recalled. “I said, this is in Italian, who cares? That’s for stuffy elite people, not for us blue-collar fellas.”

Still, his curiosity made him determined to figure out why some people loved the art form. So he sat by the side of the stage one night to watch the emotional final scene of Verdi’s “La Traviata,” when the heroine dies after being reunited with her lover.

“When she said, ‘O, gioia!’ and she fell into his arms, and now she’s dead, Alfredo’s weeping over her, and Germont is feeling half-responsible, I was weeping uncontrollably,” he said. “And I didn’t even know what they were saying.”

That’s when he started taking voice lessons, and from there followed years of study and apprenticeships both in the U.S. and later in Germany. Along the way he competed twice in the Metropolitan Opera’s National Council Auditions.

The first time, still in his early 20s, he made it to the semifinals in New York. “I did not go on to the finals, which was absolutely correct,” he said. “Failure is a great lesson.” (Coincidentally, one of the winners that year was Ryan Speedo Green, who performed Wotan in May at Walt Disney Hall and will bein the Met’s upcoming “Ring” cycle.)

Brownlee returned in 2015, and this time he took home one of the top prizes. Other awards have followed, including in 2025, best male singer at the International Opera Awards and the Richard Tucker Award for most promising American singer.

Yet this American singer is still barely known to most opera audiences in his native country. Brownlee’s career has so far been largely in Germany, where he and Feinstein are raising their two daughters and are currently applying for dual citizenship.

“I can perform anywhere in Europe and be home in two hours to see my girls,” he said. “In America that’s just not something you can do.”

He may be rooted in Europe for now, but major U.S. houses are beckoning with increasing urgency.

When he appeared at Chicago’s Lyric Opera this past spring as the prophet Jochanaan in Richard Strauss’ “Salome,” general director John Mangum called his performance “absolutely thrilling.” He said Brownlee is “definitely going be at the top of our list” as the company charts its future Wagner performances.

And Peter Gelb, the Met’s general manager, who heard him sing a major role for the first time during the Munich run of “Walküre,” said “I was blown away. … We’ll definitely be offering him big roles at the Met in upcoming seasons.”

Silverman writes for the Associated Press.

It might seem harmless at first glance, but it could lead to unnecessary delays

Packing for a holiday can feel like navigating a minefield, with a long list of rules on what can and can’t go in your luggage. While some banned items are obvious, others seem completely innocent at first glance – yet bringing them to the airport could still result in officials delaying your journey.

There is one everyday item that is allowed by all major airlines, including Ryanair, Jet2, TUI, easyJet and British Airways, but could still attract attention during security screening if officers are unable to identify it clearly on the scanner. To avoid unnecessary delays or having to unpack your luggage at the checkpoint, travellers are advised to pack toiletries in a way that makes them easy to inspect.

A simple bar of soap – buyable at Sainsbury’s for 35p, for example – might seem like one of the most harmless items you could take on holiday. However, it is not the soap itself that can cause concern – it is the way a solid item may appear when passing through security scanners.

Airport security staff do not routinely search luggage simply because it contains a bar of soap. However, dense items can sometimes make X-ray images harder to interpret, particularly when they are packed alongside electronics, cables or other bulky belongings. If officers cannot clearly identify an item, they may carry out additional checks before allowing passengers through.

The government information website GOV.UK says: “Airport security staff will not let anything through that they consider dangerous – even if it’s normally allowed in hand luggage.” While soap clearly is not dangerous, if a bar of soap raises an alert on the scanner, they are legally required to stop the passenger and inspect it.

The US Transport Security Agency (TSA), for instance, says passengers are often asked to separate dense items because they can “clutter bags and obstruct clear images on the X-ray machine.” When a solid block of soap, cheese, or other dense organic material blocks the scanner’s view or mimics a threat signature, protocol requires a physical bag search or chemical swab testing to clear the item.

According to GOV.UK, solid bars of soap are permitted in both hand luggage and checked baggage. Security officers can still manually inspect any item they are unable to identify clearly during the screening process, regardless of whether it is allowed.

To reduce the chances of your bag being opened, experts recommend keeping dense items easy to access and, if requested, placing them in a separate tray during screening. Avoid storing them inside thick metal tins or rigid plastic cases alongside items such as power banks, charging cables and other electronics, as this can make X-ray images harder to interpret.

It’s also important not to confuse solid soap with liquid toiletries. While bars of soap are exempt from liquid restrictions, liquid soaps, shower gels and similar products carried in hand luggage must normally be in containers holding no more than 100ml, unless you’re travelling through an airport that has introduced next-generation security scanners permitting larger liquids.

The rules apply regardless of which airline you’re flying with, as baggage screening is carried out by the airport rather than carriers such as Ryanair, Jet2, TUI, easyJet or British Airways. A manual inspection is simply a precaution and does not mean you’ve broken any rules or packed a prohibited item.

Taking a few moments to think about how you pack everyday toiletries could help make your journey through security a little smoother. Although a 35p bar of soap is perfectly legal to travel with, storing it sensibly could help avoid unnecessary delays before your holiday even begins.

Champions League analysts Nedum Onuoha, Guillem Balague and Stephen Warnock look at two contentious handball decisions that weren’t awarded against Paris St-Germain, including a potential red card for Nuno Mendes and a possible penalty for Bayern Munich.

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Bayern Munich players, coaching staff and fans at the Allianz Arena were in disbelief after they were denied a penalty for a handball by Joao Neves in their Champions League semi-final second leg against Paris St-Germain.

Trailing the holders 1-0 on the night and 6-4 on aggregate, the German side’s players surrounded referee Joao Pedro Silva Pinheiro at the half-hour mark when Vitinha rifled a clearance against his own team-mate Neves’ arm inside the box.

But Pinheiro waved away the Bayern protests with the video assistant referee (VAR) also not intervening, leaving social media wondering why a spot-kick was not given.

According to BBC Sport’s football issues correspondent Dale Johnson, it was because of a little-known exemption within the handball law.

According to the laws of the game, it is not a handball if “hit on the hand/arm by the ball which has been played by a team-mate (unless the ball goes directly into the opponents’ goal or the player scores immediately afterwards, in which case a direct free-kick is awarded to the other team)”.

“It covers when the ball is unexpectedly hit at you by a team-mate, even if your arm is away from your body – the law says you should not give away a penalty,” said Johnson.

“When Vitinha blasts the ball clear, could Joao Neves think the ball would be hit straight at him?

“Of course, this could be overridden by deliberate handball, but in the context of this situation, a penalty would not be expected to be awarded.”

Why go now

In the south-west of Munich, Schlachthofviertel is an area in flux; a jarring district that is home to a theatre, a techno club and a controversial active slaughterhouse.

In the 1870s, after the final cholera epidemic in Munich, a municipal slaughterhouse (Schlachthof) was built on what was then the outskirts of the city as part of a wider effort to improve hygiene standards. Although it is still in use today, the site has dramatically decreased in capacity, and creative entrepreneurs have been quick to see the potential of unused spaces.

In 2021, the Münchner Volkstheater (People’s Theatre) moved to the area, bringing a new cultural status and sparking fears of accelerated gentrification. For me, it’s a part of town I go to for a change of scene or just a loaf of double-baked rye bread. In summer, the open-air spaces come out of hibernation and show a much edgier side to Munich.

Where to eat and drink

Today, butcher’s shops and cult dive bars sit side by side. There has been a flurry of openings; my favourite recent addition is the female-run Mari on Adlzreiterstraße, the street Albert Einstein lived on for much of his childhood. The airy cafe serves a late breakfast, including a Korean option of marinated tofu and miso mayonnaise.

The Brotatelier bakery operates from a shipping container, and bakers use equipment on wheels to maximise the limited space. From the cinnamon buns to the French fougasse bread, all products are prepared with sourdough. “Everybody has time here; we haven’t had a single customer who was stressed or anything like that,” says co-founder Christof Teriete, whose bigger concern is the impact of the fluctuating container temperatures on the sourdough starters.

For drinks, start at Frisches Bier, run by craft brewer Tilman Ludwig. He has his own beers on tap, along with a small selection of other independent labels, such as Bierol from Tirol and Hoppebräu from southern Bavaria.

Cultural experiences

On one side of Zenettistraße is the decommissioned cattle market (Viehhof). The red brick walls are now home to the Volkstheater. Launched with a production of Christopher Marlowe’s Edward II, the diverse programme includes the Radikal jung festival, focused on emerging directors, and the U20 Poetry Slam, which invites young writers to present their work.

Next door is Bahnwärter Thiel, the heart of Munich’s underground scene, were graffitied shipping containers and the occasional caravan provide studios for DJs, artists, potters, goldsmiths, bakers (see above) and non-profits. “There’s no central heating or running water in the containers,” says Kati Legge from female creative office High Five, “but it’s not about comfort, it’s about maximum inspiration and the fascinating people around you.”

Raised garden beds add touches of green and upcycled materials are used for sculptures and makeshift walkways. There’s also a bar in an old tram, a restaurant in a train carriage and a techno club open till 6am weekends.

Where to shop

Rindchen’s Weinkontor has a huge selection of wine stored in a roomy, listed building. At Moss Concept Store on Thalkirchner Straße you’ll find ceramics, glassware and other home accessories.

Don’t miss

Actually quite hard to miss is Alte Utting, a former passenger ship that’s now a bar and event space that fills the length of a bridge over Lagerhausstraße. Destined for the scrapyard after years of service on Ammersee, it was rescued and relocated in 2017 by Wannda, the people behind Bahnwärter Thiel.

Where to stay

There’s little tourist accommodation in Schlachthofviertel, but there are hotels close to the nearby Oktoberfest site. Cocoon Theresienwiese has doubles from around €80 room-only.

Three-man forward lines have been a staple tactic throughout the history of football.

But they have arguably never been as popular as they have over the last 15 or so years.

It is a resurgence that is largely down to Barcelona’s success under Pep Guardiola between 2008 and 2012.

Guardiola helped Barcelona win two Champions Leagues and three La Liga titles with a dominant possession-based style.

It was a revolutionary system that relied on both the midfield and front line – operating with a recognised number nine – to be fluid in and out of possession.

Nine‑time Ballon d’Or winner Lionel Messi was usually the most central attacker, though he often dropped deep to either drag defenders out of position and create space for his team-mates, or to create a numerical advantage in midfield.

Either way, the end result was a fluid style of football that was practically impossible to stop and resulted in Barcelona claiming 14 trophies during Guardiola’s time at the helm.

Since then, three-man forward lines have become fairly prominent in Europe, with the likes of Real Madrid and PSG deploying similar tactics in the years that followed.

In the Premier League, however, the forward line that resembled Guardiola’s side most closely was Liverpool’s Champions League and Premier League-winning trio of Sadio Mane, Roberto Firmino and Mohamed Salah.

During their five seasons together at Anfield, Firmino was deployed as the Reds’ central attacker and, similar to Messi, was responsible for dropping between the lines, linking play with the midfielders and ultimately creating space for Mane and Salah to run in behind.

The trio is widely regarded as one of the greatest forward lines in the history of English football, having helped Jurgen Klopp’s side win a haul of major trophies.

The tone was set for a dazzling European encounter when both sets of fans unfurled giant tifos before kick-off – PSG’s was emblazoned with the words ‘the conquest of Europe’, while the visitors’ banner urged their side to ‘give everything’.

In a chaotic opening 45 minutes at the Parc des Princes, both sides did just that.

It was fitting the two top-scoring sides in the Champions League this season put five goals on the scoreboard in a mesmerising, end-to-end opening period.

Harry Kane’s penalty was cancelled out by Khvicha Kvaratskhelia’s clinical finish, before Joao Neves’ glancing header and Michael Olise’s moment of individual brilliance left the sides level.

Many will suggest the PSG penalty, awarded after Bayern defender Alphonso Davies was deemed to have handled an Ousmane Dembele cross in the box, was harsh. Dembele calmly converted to give PSG a 3-2 lead at the break.

But the controversial incident was ultimately overshadowed by what pundits called one of the greatest halves of football they had ever witnessed.

Former England captain Alan Shearer said on Amazon Prime: “I can’t stop smiling at how open and bonkers this game is.

“It’s one of the greatest games I’ve ever been to. Two teams that believe in their own ability to outscore their opponent.”

The chaos continued after the break with PSG building a three-goal cushion, again through Kvaratskhelia and Dembele, leaving some to wonder if the outcome had been settled.

But Bayern were unwilling to let the chance of a first Champions League title since 2020 get away from them as they fought back in fearsome fashion.

Goals from Dayot Upamecano and Diaz were met with stunned silence from the home fans and no further response from the PSG players as the hosts finished with a slim advantage.

“I have been managing for more than 15 years, and I have to say it was the most exciting [match],” added Luis Enrique.

“It is important to show that that is the way to try to play football. OK, we are not happy as a coach when you concede four goals, but I’m happy because we won.”

It was the first time in any major European semi-final that both sides had scored at least four goals, and just the second time in a Champions League knockout match after Chelsea and Liverpool drew 4-4 in the 2008-09 quarter-final.

With PSG netting 43 goals and Bayern 42, it was also the first time two teams have each scored more than 40 times in a Champions League campaign.

Follow the build-up, analysis and live text commentary of the semifinal first-leg from Parc des Princes in Paris.