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Andris Nelsons' tenure with the Boston Symphony may have been cut short, but his work with the Gewandhaus Orchestra is a testament to his exceptional skill. This collection of Mendelssohn's symphonies and oratorios, recorded live between 2021 and 2024, highlights Nelsons' ability to bring out the best in the orchestra. The tempi are brisk but never rushed, and it's the phrasing that truly brings these performances to life. The Italian Symphony's opening movement is ultra-lithe, and the Scottish Symphony's scherzo features intricate woodwind work. Nelsons elevates the often-overlooked First Symphony to stand alongside its more colorful counterparts. The set includes two oratorios, Elias (Elijah) and Paulus (St Paul), sung in German. Elias boasts a distinguished lineup, including Golda Schultz and Wiebke Lehmkuhl, with Andrè Schuen delivering a standout performance in the title role. Nelsons' interpretation of Paulus is particularly noteworthy, bringing out the drama in this lesser-known work. This collection is a must-listen for classical music enthusiasts, offering a unique insight into Mendelssohn's works and Nelsons' exceptional conducting style. Stream it now on Apple Music or Spotify.

As its title suggests, this musical about Claude Monet is full of reflections – fittingly so given the artist's preoccupation with light. In 1916, while struggling to complete The Water Lilies with cataracts, the ageing painter (Jeff Shankley) retreats into memories of his early career. His single-minded younger self (Dean John-Wilson) may be about to change art forever, but looking back, all Monet sees is the personal cost of his drive, particularly his mistreatment of his first wife, muse and mother of his children, Camille (Brooke Bazarian).For a man usually defined by his success, this alternative reflection is refreshing. Also bouncing back at Monet are his peers' struggles, the artistic establishment's dismissal of impressionism, and art's relationship to war and women. So abundant are these reflections, in fact, that Carmel Owen's ambitious book at times becomes a house of mirrors – enticing but with a distractingly split focus.There are certainly strengths, though, not least Libby Todd's set: a floor-to-ceiling jumble of empty canvases, which fill with huge impressionist paintings, vivid washes of coloured light and animated backdrops rendered in flickering brushstrokes. It's an invitation to step inside the artistic movement that favoured feeling over realism.Director Christian Durham has an accomplished cast on his hands. Shankley brings moving introspection (and a brilliant turn as a sniffy Paris salon clerk), while Bazarian and John-Wilson deliver standout singing on a stage full of mighty voices. Their connection, however, is outshone by those between young Monet and his fellow impressionist upstarts Bazille (a lovable Ritesh Manugula) and Renoir (a breezy Sam Peggs), whose moments together are the show's strongest. They fizz with the impatience of young rebellion, and their bickering, which provides much-needed moments of gentle humour, gives way to genuine devotion.An excellent eight-piece orchestra takes on Owen's songs, which lead us aptly through the story's tonal beats – lush strings for young love; jaunty woodwind for bantering artists. But none are distinctive enough to reach the heights of "hum it all the way home".Like Monet's, this musical's ambition sometimes comes at a cost, but it still lands in a place of beauty and deep feeling.

Brendan Gleeson has been named best actor at the Critics' Circle theatre awards for his West End debut in Conor McPherson's pub drama The Weir. He beat fellow nominees including Bryan Cranston and Paapa Essiedu, both recognised for All My Sons, and James Hameed and Arti Shah, the duo who together portray Paddington in the new musical about Michael Bond's bear.The Weir, directed by McPherson, was entirely omitted from the nominations for this year's Olivier awards and is being turned into a film with Gleeson and the rest of the West End cast.All My Sons, a critically adored production of Arthur Miller's 1946 classic at Wyndham's theatre, won in two categories at the Critics' Circle awards: best revival of a play or musical and best director for Ivo van Hove. A new production of Stephen Sondheim and James Lapine's Into the Woods, directed by Jordan Fein at the Bridge theatre, also won two prizes – best designer (Tom Scutt) and the inaugural award for best ensemble or cast.The winners, voted for by professional theatre critics, were revealed at a ceremony at the National Theatre in London on Thursday. Paddington: The Musical, with music and lyrics by Tom Fletcher and book by Jessica Swale, won best new musical. James Graham's Punch, based on the real story of a fatal blow, received the Michael Billington award for best new play (named in 2019 in honour of the Guardian's theatre critic after he stepped down from reviewing). Ava Pickett won most promising playwright for her Tudor drama 1536, which was staged at the Almeida theatre in London in 2025, transfers to the West End in May and is being turned into a BBC drama series.Rosamund Pike saw off competition from Kate Fleetwood (Into the Woods), Marianne Jean-Baptiste (All My Sons) and Rachel Zegler (Evita) to win best actress for her acclaimed performance as a judge in Suzie Miller's Inter Alia. Ruby Ashbourne Serkis was named most promising newcomer for her performance in a revival of Tom Stoppard's Indian Ink which opened at Hampstead theatre days after the revered playwright's death. The award for best Shakespearean performance went to Hayley Atwell for her Beatrice (alongside Tom Hiddleston, nominated for the same prize, as Benedick) in Much Ado About Nothing at Theatre Royal Drury Lane.

The creator of the AI actor Tilly Norwood, Eline van der Velden, has revealed that she received death threats following a global backlash against her project. Van der Velden developed Tilly Norwood to spark conversation about the role of AI in the entertainment industry.Van der Velden's AI creation, Tilly Norwood, gained significant attention last year when she announced that talent agents were interested in signing the AI actor. This led to widespread condemnation from prominent actors and acting unions, including Melissa Barrera, Mara Wilson, and Ralph Ineson, as well as Sag-Aftra and Equity.In an interview with the Guardian, Van der Velden expressed her surprise at the intensity of the backlash, stating, “The death threats and the hate … my goodness, loads,” she said. Despite the negative reaction, Van der Velden remains committed to her vision of integrating AI into the entertainment industry.Van der Velden founded Particle6 and its AI arm, Xicoia, and debuted Norwood in a short comedy sketch called AI Commissioner last autumn. Norwood has gained a significant following, with 141,000 followers on Instagram.Van der Velden believes that AI actors like Norwood could be beneficial for some performers, allowing them to maintain anonymity while still engaging in acting. She noted, “I think it’s great for some actors, it might actually be a blessing that they can have a digital twin,” emphasizing that fame can be burdensome.Van der Velden continues to advocate for the use of AI in entertainment, highlighting its potential to offer actors more creative freedom. She has now featured Norwood in a new music video, with lyrics written by an AI chatbot, and controls Norwood’s avatar using motion capture techniques.

As spring arrives, the natural world comes alive with a vibrant mix of joy and discipline. A pair of ravens perform their shuttling flight in glorious sunshine, while a charm of chaffinches flash white wing-bars through the shadows of mossy willows around the pond.A queen red-tailed bumblebee orbits a hedgebank boundary stone, then buzzes off to feed on gorse flowers or prospect for possible colony chambers below. The sounds of nature are filled with the lesser-spotted woodpecker hammering out rapid bursts of drumbeats and chiffchaffs finding their rhythm in the oaks.The article reflects on the discipline of seasonal labors and joys, where creatures return to their routines after a period of dormancy. This cycle of life is contrasted with the passage of time and the impact of suffering in the world.The author, Paul Evans, weaves in cultural references, such as an eighth-century Chinese poem by Meng Chiao, to illustrate the timeless nature of these cycles. The article concludes with a sense of hope and renewal, as the natural world awakens from its winter slumber.

A 60-year-old man has received a suspended prison sentence after pleading guilty to sending offensive messages about England international Jess Carter during the European Championship last summer.Nigel Dewale, of Great Harwood in Lancashire, was sentenced to six weeks, suspended for 12 months, after a hearing at Blackburn magistrates court. He also received a four-year football banning order and a requirement to engage in a 10-day rehabilitation programme.Dewale had admitted to sending 'malicious communications' on TikTok and was identified as the author of two posts that used both racist and misogynist language.The deputy director of the UK Football Policing Unit, Mike Ankers, welcomed the verdict and praised the determination of Carter and the rest of the Lionesses to stand up to online abuse.Ankers said he believed there continued to be substantial underreporting of the online abuse directed at athletes and called for social media companies to be held accountable for sharing identifying information of account holders suspected of hate speech.

Three elite runners, Jessica McClain, Emma Grace Hurley, and Ednah Kurgat, who were leading the USA Track & Field Half Marathon Championships in Atlanta earlier this month, were inadvertently led off course by a guide vehicle. This chaotic turn of events resulted in them finishing in ninth, 12th, and 13th place, respectively, more than two minutes behind the winner, Molly Born.The incident deprived them of the top prize of $20,000 and the three qualifying places for the World Road Running Championships. However, USATF announced on Wednesday that World Athletics had granted permission to expand its team from four to seven, allowing McClain, Hurley, and Kurgat to compete in Copenhagen this September.“From the moment this happened, our focus was on doing right by the athletes,” said USATF CEO Max Siegel. “Jessica, Emma Grace, and Ednah had clearly separated themselves in the race and we are sorry they did not get to celebrate their accomplishment by breaking the tape.”The USATF team for the championships will include Born, Carrie Ellwood, and Annie Rodenfels, along with a final athlete determined by the world rankings in May. The team will consist of four “scoring athletes” and three “non-scoring athletes,” with USATF funding prize money for the non-scoring athletes.

A garden log pile is a surprisingly vibrant ecosystem, teeming with life. The pile, composed of various tree species like apple, walnut, and oak, attracts a diverse range of insects and fungi. The diversity of logs supports a greater variety of life, with different species inhabiting different parts of the pile.The log pile is home to frogs, wrens, and other animals, and even supports the growth of fungi like jelly ear. The arrangement of the wood also plays a crucial role in attracting different species, with buried wood attracting stag beetles and wood at height attracting wasp beetles.The author of the article, Kate Bradbury, carefully dismantles the log pile to make room for a hedgehog box, uncovering a variety of creatures like beetles, springtails, and centipedes in the process. The log pile is then rebuilt, with softer logs on the soil and drier ones around the box, creating a new home for a female hedgehog and other animals.

Deal Overview Crusoe will purchase 12 gigawatt‑hours of Form Energy's 100‑hour iron‑air batteries. Delivery is scheduled for 2027, providing Crusoe with multi‑day backup capability. The agreement follows Form Energy's recent 30 GWh contract for Google in Minnesota, valued at roughly $1 billion. Redwood Materials will supply an additional 8 megawatts of power using repurposed EV batteries, augmenting Crusoe's existing 12 MW, 63 MWh microgrid installation. Financial and Market Implications Assuming a similar price per gigawatt‑hour as the Google deal (~$33 million/GWh), Crusoe's 12 GWh purchase could generate roughly $400 million in revenue for Form Energy, qualifying as “hundreds of millions” for the company. Form Energy is currently raising a $500 million funding round; the Crusoe contract adds tangible traction, supporting valuation uplift. Form has raised $1.4 billion to date, positioning it to scale production from its West Virginia factory. For Crusoe, the combined storage capacity (≈12 GWh + 63 MWh) reduces reliance on grid power, potentially lowering operating costs by an estimated 5‑7% annually for its data centers. Technology Insight Iron‑air batteries store energy via oxidation of iron pebbles; discharge produces rust and electricity, while charging reverses the reaction. The 100‑hour discharge rating enables multi‑day backup, a key differentiator from conventional lithium‑ion systems that typically last only a few hours. Redwood Materials focuses on second‑life EV batteries, extending their useful life and reducing material costs for large‑scale storage. Strategic Impact for Crusoe Enhanced resilience against grid outages and renewable intermittency, critical for high‑performance computing workloads. Demonstrates a commitment to sustainable operations, aligning with corporate ESG goals and attracting climate‑focused investors. Positions Crusoe as an early adopter of long‑duration storage, potentially setting an industry benchmark for data center energy strategy.