The sun was shining for the first time in a long time this dreary summer and it picked the right day to make an appearance – Carole King was in Hyde Park performing in London for the first time in 25 years.
Headlining the British Summertime Festival, King drew crowds of young and old – everyone singing along, word perfect, to her seminal album, Tapestry.
Oberon is played by a woman, there's a chorus of male fairies and the whole show is set in a nightclub. Welcome to The Donkey Show, Shakespeare's A Midsummer's Night's Dream played as - and in - a Seventies disco.
A small group of Orthodox Jewish men are swaying, their bodies dipping in unison as they daven, lips moving soundlessly, devotion etched upon their faces. But these men are not praying - they are dancing on a stage.
Yaniv d'Or stands centre stage in a light suit, surrounded by his baroque ensemble, tapping a foot, virtually dancing to their introduction before breaking into song. He's a charismatic performer with a taut and energetic presence; and though he is a countertenor, he's an extremely unusual one, singing with full tone and natural, often unrestrained vibrato.
The first time I watched Eurovision, I was five years old. My parents had gone out and we had a babysitter. They left the television on so they could record the show (Israel were favourites) and that decision changed my life.
It's quite some feat by Katie Mitchell, the director of this risible Lucia di Lammermoor, to reduce the audience to almost uncontrollable laughter as Lucia and Alisa try to kill the bound, blindfolded Arturo. It's certainly funnier than the average sitcom. But I somehow doubt that was Mitchell's intention.
Yehudi Menuhin, whose centenary falls on April 22, was certainly a great violinist. Crucially, though, he was much more besides: as a humanitarian visionary he set in motion initiatives that transformed the world's musical landscape with ideas often well ahead of their time.