Une vulnérabilité concerne tous les principaux navigateurs web, comme Chrome, Firefox et Edge. Les correctifs sont toutefois disponibles depuis peu. Il est hautement recommandé de faire la mise à jour dès que possible. [Lire la suite]

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Conductor allegedly assaulted English choir member backstage in France after telling him he had left podium on wrong side

An internationally renowned conductor has pulled out of the BBC Proms after allegations he punched and slapped a member of his choir for allegedly entering the stage incorrectly at the Berlioz festival in France.

Sir John Eliot Gardiner, 80, allegedly assaulted William Thomas, 29, an English bass, after an opera performance on Tuesday, according to reports.

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Royal Lyceum, Edinburgh
Mezzo soprano Christine Rice is compelling in the first half while dancers in the dreamlike second part are a revelation in Deborah Warner’s simply staged show

A terrific cast of musicians and dancers is the core of this skilfully
and carefully crafted double bill of Greek myth; one half scales the heights of intense emotion, the other conjures a dream state. First is Phaedra, Benjamin Britten’s last vocal work, written in 1975, with mezzo soprano Christine Rice compelling as the titular princess, all crazed eyes and clear diction as she is blinded by illogical love for stepson Hippolytus.

Across the rising arc of the music, with the excellent Richard Hetherington sharing the stage on piano, Rice is gripping in the role. She pulls us into Phaedra’s misery, her self-pity, her ardent certainty, her hollowness at knowing no good can come of this. It is simply staged by director Deborah Warner, and a sparse set by Antony McDonald transforms from a black to white backdrop, perfectly timed with the sudden soaring of Rice’s voice going from dark cloud to the bright blaze of full sun.

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Royal Albert Hall, London; Arcola, London
Three Hungarian-inspired proms combine sizzling energy, Bartók and dada, while an intimate staging ramps up the angst in a Bernstein mini-opera

Budapest, a city whose musical legacy rivals its Austro-Hungarian past in grandeur and fascination, dusted its aura over the Royal Albert Hall last week: from the Budapest Festival Orchestra and its co-founder, Iván Fischer , to his childhood friend and collaborator, the pianist András Schiff; to the composers Béla Bartók, György Ligeti, György Kurtág and Dora Pejačević, all of whom were born or spent time in the Hungarian capital, notably in studies at the celebrated Franz Liszt Academy, established by the composer-pianist whose name it takes.

The gregarious Fischer, master of ceremonies as well as conductor, led three Proms, including an audience-choice matinee ( heard on Radio 3 – and pithily described by the presenter, Petroc Trelawny, as “delicious chaos”). Choosing from a list of options, the works to be performed were decided by crowd decibel level. I regret that Haydn, long based at Hungary’s stupendous Esterházy Palace, missed the mark: he would have been radical among the inevitably safe choices. This orchestra’s zest and idiomatic style would convert anyone to his music: why does this genius still fall into the shadows?

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Royal Albert Hall, London
For its UK premiere, György Kurtág’s opera faced a challenge summoning the play’s claustrophobia in this venue, but performances and players were superb

Michael Billington, writing about Endgame in these pages a while ago , once used the phrase “the terrible music of Beckett’s prose” to describe the bitter beauty of the play’s language. In György Kurtág’ s opera, the words retain their fierce, lacerating power, though the music extends a deep and ambivalent compassion to Beckett’s characters even as their rebarbative sparring masks fears of decline, isolation, endings and loss. This is not, in essence, the bleak comedy we often find, but a work of pervasive sadness that continues to haunt us after its final notes have died away.

Considered a masterpiece by many at its 2018 Milan premiere, Endgame (more correctly Fin de Partie, as Kurtág uses the French text) has now been given its first UK performance at the Proms by the BBC Scottish Symphony Orchestra under Ryan Wigglesworth, in a semi-staging by Victoria Newlyn. Playing and conducting, as one might expect, were superb. Wigglesworth dug deep into the score’s detail while maintaining the dramatic pressure throughout, and you couldn’t help but be struck both by Kurtág’s fastidious craftsmanship and the way every verbal and musical gesture tells, often through the sparest and simplest of means. Flaring brass suggested fury, futile or otherwise, and cimbalom taps quietly frayed the protagonists’ nerves. But there were also moments of quite extraordinary beauty, particularly as Nell (Hilary Summers) and Nagg (Leonardo Cortellazzi) lose themselves in memories of the past.

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Le navigateur Opera GX a reçu une mise à jour étonnante. S'il n'est n'est pas utilisé pendant deux semaines, il peut croire que vous êtes mort. Dans ce cas, il inventera un faux historique avec des sites tout à fait convenables, pour cacher les vraies visites, qui sont peut-être inavouables. [Lire la suite]

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Opera One est officiellement lancé ! Le nouveau navigateur web, successeur d'Opera tout court, s'appuie sur l'intelligence artificielle et des nouveautés inédites en matière d'interface pour sortir du lot.

Opera One veut réinventer les navigateurs web avec l’aide de l’intelligence artificielle

Avec Opera One, le navigateur web cherche à se réinventer en profondeur. Cette nouvelle version remplacera à terme le logiciel bien connu, et l'éditeur en profite pour ajouter une interface refaite à neuf et modulaire.

Ce navigateur web bien connu va disparaitre, mais son remplaçant est déjà connu

Le navigateur Opera va bientôt disparaître et son successeur se montre. La firme dévoile Opera One, un navigateur plus moderne et modulaire.

Opera One : le remplaçant du navigateur Opera est déjà là