The new production of Wagner’s Parsifal at Opera Ballet Vlaanderen has commenced, marking a significant event in the cultural calendar. Directed by Susanne Kennedy, this interpretation promises to transcend traditional opera experiences, incorporating elements of immersive theatre. Kennedy describes her work as a “cyber-mystery play,” aiming for a sensory encounter that envelops the audience in a collective ritual, reports 24brussels.
Wagner’s composition is positioned around the theme of ritual, a concept Kennedy believes is foundational to both theatre and opera. She asserts that the core of Parsifal promotes inner transformation, forging connections between awareness, independence, and compassion—principles that extend beyond mere entertainment. “I want to delve deeply and go through that process together with others. That’s what opera is about: it’s a ritual we can celebrate together,” she explained.
Furthermore, Kennedy contends that opera singers are not tasked with portraying psychological realism, but rather conveying emotion through sound. This concept reshapes the audience’s understanding of opera, moving it away from literal narratives towards a realm of symbolic resonance. In this light, Parsifal becomes a reflective journey, inviting attendees to confront their own “sick king” and engage in healing throughout the performance.
In addition to Parsifal, the Plantin-Moretus Museum in Antwerp is hosting the exhibit Women’s Affairs / Business Women until January 11, 2026. The exhibition illuminates the contributions of women in a historically male-dominated printing industry over 300 years, showcasing their achievements along with their male counterparts. It features rare letters and diaries that restore the narratives of underestimated figures, displaying their vital roles in shaping the family business.
Notably, the Plantin-Moretus family’s legacy reveals that women were not merely support figures but active players in trade and company leadership. The exhibition promotes artists like Maria Segers, whose work captures the essence of everyday life with grace and simplicity, reinforcing the importance of women’s stories throughout history.
Concurrently, Villa Empain in Brussels is presenting the Fire exhibition from September 25 to March 1, 2026. This event assembles around 50 modern and contemporary artists who explore the dual nature of fire—a force for both creation and destruction. Through various mediums, including sculpture and photography, the exhibition examines fire’s historical significance across cultures as well as its symbolic and sensory implications.
Artist Michiko Van de Velde, featured in the exhibition, is preparing to unveil her largest work to date during this showcase, underlining the event’s commitment to celebrating contemporary artistic expressions while addressing elemental themes. The exploration of fire’s complexities invites viewers to contemplate its multifaceted role in human experience.
Exclusive: Imedi TV owner denies criticism by EU disinformation monitor and says it is editorially independent
On Pont Street in Belgravia in central London, on the first floor of a handsome Edwardian townhouse, sitting above the royal green awning of the Jeroboams wine shop, is an office. There are no obvious signs for it beyond a little note next to the intercom. When buzzed this week, no one appeared at the door.
This is the registered office of Hunnewell Partners, which describes itself as an “entrepreneurial private equity and litigation funding practice”.
Tamzin Hall, 17, was struck by a vehicle after leaving a police car on the M5 motorway in Somerset after being arrested at a children’s home
The mother of a girl who was struck by a vehicle and killed after she left a police car on a motorway says the untimely death of her daughter came after years of frustration and disappointment with authorities over the teenager’s care.
Tamzin Hall, 17, had been arrested and was being taken into custody when she left the police vehicle in which she was travelling on the M5 northbound between Taunton and Bridgwater in Somerset on 11 November 2024.
On September 20, 2025, at least 92 Palestinians died during a series of severe air, land, and artillery assaults conducted by Israeli forces throughout the Gaza Strip, targeting residential areas and shelters for displaced persons, reports 24brussels.
Israeli troops detonated an explosives-laden armored vehicle in northern Gaza City’s al-Nafaq Street to demolish structures, while tanks unleashed heavy shelling and machine-gun fire. Artillery targeted the northwest region of the city, and airstrikes struck the Sheikh Radwan area, where smoke bombs were dropped near the al-Mashtal Hotel.
Local sources indicated that Israeli quadcopter drones released grenades on the Abu Assi School in the al-Shati refugee camp, killing one person and injuring several others. A further airstrike on a residence near the al-Firouz Towers resulted in the deaths of two members of the Hassan family.
In the Sabra district south of Gaza City, an airstrike on an apartment block belonging to the Daghmash family killed 14 individuals, including four children and five women. Rescue teams reported that more victims were likely trapped beneath the rubble, but access to the site remained highly challenging.
The Gaza Civil Defence estimates that approximately 450,000 residents have left Gaza City, while the Israeli government claims the number to be around 480,000. However, the United Nations reports that nearly one million people reside in Gaza City and its vicinity, leaving hundreds of thousands unable to escape—whether due to poverty or exhaustion.
This escalation follows a call from the international community for a ceasefire, which was vetoed by the U.S. in the United Nations Security Council, exacerbating the humanitarian crisis in the region. The ongoing conflict raises urgent questions about the need for sustained international diplomatic efforts to address the situation in Gaza.