Munich

Aston Villa are in talks over a move for Bayern Munich midfielder Joao Palhinha.

The Portugal international, 31, became a target for Villa after Amadou Onana suffered an anterior cruciate ligament injury to his right knee while playing for Belgium at the World Cup.

Sources close to Palhinha say he has yet to make a decision but is open to a move to Villa Park, which is regarded as among his best options.

Bayern are willing to let him leave two years after signing him for £47.4m from Fulham.

Palhinha was on loan at Tottenham last season but the north London club opted against triggering their £26m option to buy.

It is understood manager Roberto de Zerbi was keen to sign Palhinha because of his role in helping Spurs avoid relegation, but the club were unable to reach an agreement with Bayern.

“Joao Palhinha is a very good player who would fit our plans,” Villa director of football Damian Vidagany told German outlet Bild on Friday.

“We are in talks, but there is currently no agreement. If something were to happen, it would always be based on the great respect we have for Bayern.”

The comments after Villa lost 2-1 to Bayern in a pre-season friendly, in which Palhinha featured as a substitute, in Hong Kong over the weekend.

It has been a busy summer for Unai Emery’s Europa League-winning side, with the high-profile departures of Morgan Rogers to Chelsea, Youri Tielemans to Manchester United and Lucas Digne to Paris St-Germain leaving Villa in need of replacements.

They have also signed Alejandro Garnacho from Chelsea, Joao Gomes from Wolves, Johan Manzambi from Freiburg and Moudou Keba Cisse from LASK Linz.

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.