Latest news with #Vivaldi
Tom's Guide
23-05-2025
- Business
- Tom's Guide
Proton VPN drops to its lowest ever price – get it while you can
It's Proton's birthday and what better way to celebrate than offering Proton VPN at its lowest ever price. It's one of the best VPNs out there and a rock solid, privacy-focused provider. The two-year plan is 70% off, working out at $2.99 per month ($71.76 up front). But be quick, the deal runs out on May 28. Proton VPN comes from the team behind Proton Mail, and it's a big name in the privacy and security world. It's one of the most private VPNs, so if privacy is your priority, it's a chance to get a top provider for cheap. Proton VPN is not the only VPN deal this weekend. Check out our round up of the top VPN Memorial Day deals. Proton VPN: the best VPN for privacyProton VPN is a privacy-focused provider and offers class-leading privacy and security for up to 10 devices. It's super fast and unblocked every streaming site we threw at it. There's over 12,000 servers, double hop Secure Core servers, and a host of anti-censorship features. The 2-year plan works out at $2.99 per month ($71.76 up front) and has never been cheaper. There's a great free VPN too and a 30-day money-back guarantee. Proton VPN's real strength lies in its privacy. It's a verified no-logs provider and has completed a number of independent audits. This means it doesn't store, share, or sell any of your personal data and it's protected by class-leading encryption. It's also open source, so you can see the code for yourself. Proton VPN owns all of its more than 12,000 servers, resulting in added security, and it has a large presence in Africa and Asia – more than any other provider. It's one of the fastest VPNs we've tested, hitting speeds of over 900 Mbps. It also unblocked every streaming site we tried to access with it. This speed and unblocking power makes it one of the best streaming VPNs. Proton VPN isn't the most feature heavy VPN, but everything is included and there's no paid add-ons. There's a solid kill switch and split tunneling, as well as some more technical features such as moderate NAT. Its Secure Core feature allows you to route your VPN traffic through two servers rather than one, for an additional layer of encryption, privacy, and security. Proton VPN has some of the best anti-censorship features available, and one of its biggest goals is to provide access to a free and open internet. Its Stealth VPN protocol obfuscates your internet traffic and hides the fact you're using a VPN. On Android, you can disguise the Proton VPN app and there's a browser extension for those who cannot download the app at all. Proton VPN Free is one of the best free VPNs available and protects you with the same level of privacy and security as the paid plan. Guest mode means you don't even have to create an account to access it and Proton VPN has partnered with the secure browser Vivaldi to offer it as an extension. Proton VPN's UI isn't the simplest, and beginners may take a bit of time to get used to it. Following a recent update, the UI has undergone a big redesign, making it a lot cleaner. But it's still not as easy to use as ExpressVPN or Surfshark. NetShield is Proton VPN's threat protection offering. It claims to block ads and trackers, but in our testing it proved far less effective than NordVPN's Threat Protection Pro. Proton VPN isn't usually the cheapest option available, but it's not the most expensive. But it's never this cheap and takes it below NordVPN and ExpressVPN by some way. However, Private Internet Access (PIA) and Surfshark still come in cheaper and may be better options if you're on a tight budget. Overall, Proton VPN is a great VPN and ideal for the privacy-conscious. It's fast, has some decent features, and offers protection for 10 devices. If you're a fan of the Proton ecosystem then it'll slot in with ease. $2.99 per month makes it very good value and it's well worth considering. We test and review VPN services in the context of legal recreational uses. For example: 1. Accessing a service from another country (subject to the terms and conditions of that service). 2. Protecting your online security and strengthening your online privacy when abroad. We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.
San Francisco Chronicle
21-05-2025
- Entertainment
- San Francisco Chronicle
Review: Netflix's ‘The Four Seasons' is overprivileged and out of touch
'The Four Seasons' was a 1981 film about growing old together, not only with one's spouse but also alongside one's dearest friends. Yet, while the new Netflix adaptation brings together a new cast of aging stars, it's not the bodies onscreen that feel dated. Featuring Gen X-ers Tina Fey, Colman Domingo and East Bay's own Will Forte, plus at least on-the-cusp boomer Steve Carell, the series-long expansion of the movie by the same name — written and directed by its original star Alan Alda of 'M*A*S*H' fame — actually regresses the older narrative. Updating the story for 2025 requires a heavy lift, and an acclaimed trio of showrunners — Fey, Lang Fisher (' Never Have I Ever,' ' Brooklyn Nine-Nine ') and Tracey Wigfield ('30 Rock,' ' The Mindy Project ') — certainly make an effort. Unfortunately, it turns out that these three very successful TV writers don't exactly live on the cutting edge of storytelling for the streaming era. The original film's premise is that three middle-class couples of mostly white people navigate love's changing nature through middle age over the course of four seasonal vacations within one year, all to the tune of Vivaldi's famous violin concerto. Here, over the course of eight episodes, we see some beat-for-beat repeats: On the first vacation in spring, everyone jumps impishly from their leisure boat into the water, fully clothed! On a later vacation in summer, one of the wives is replaced awkwardly by a younger blond who sports a fetching white bikini! Yes, there is, once again, so. Much. Vivaldi! The remake gets a small diversity update by casting one of the couples as San Francisco theater veteran Domingo and Marco Calvani, a pair of gay men — although the former is forced unfairly into a 'two-fer' role as the sole person of color. (In the original, that place went to the great Rita Moreno, the East Bay's beloved EGOT.) Gone is a critical confrontation when the younger blond would have stood up for herself against the withering disdain of her partner's older friends. Such a scene would have added much-needed dimension to the role of Ginny (Erika Henningsen), but there's not much to her here beyond the pejorative label 'Yoga Barbie' that another character assigns to her. And rather than keeping the couples middle class, they're rewritten as much wealthier. Carell's Nick is referred to as 'king of the hedge fund,' while Domingo's Danny appears to be a jet-setting interior designer. The other characters are so thinly written in this update, that unlike the original, work rarely enters their banal conversations that drip with privilege and not much else. Particularly grating is when the two — beautiful — middle-aged actors, Fey and Kerri Kenney ('Reno 911!') crack fatphobic jokes, especially at their own expense. It's not funny, and it's not believable in the least, especially when, in one scene, Kenney is a vision clad in a sleeveless, backless gown. Love and the dilemmas of aging are both meaty subjects, as audiences have seen recently in far edgier, envelope-pushing narratives like ' Babygirl ' and ' The Substance.' I'm not at their protagonists' age bracket yet, but those stories dared to stir up dreams of what my menopause era could look like, even if they were fantasies that starred impossibly well-toned, rich white women. Despite all the undeniable talent involved in 'The Four Seasons,' its real failure is one of untapped imagination.
IOL News
08-05-2025
- Entertainment
- IOL News
Candlelight concerts set to illuminate Gqeberha and Durban with enchanting classical music
Candlelight is a series of live concerts designed to democratize access to classical music, using beautiful settings. Picture: Supplied/Fever Image: Supplied/Fever Fever, the renowned global live entertainment discovery platform, is set to enchant music lovers in South Africa with the launch of its acclaimed Candlelight concert series in Gqeberha and Durban. This innovative initiative, which aims to democratise access to classical music, will commence its performances on July 19 at the Feather Market Centre in Gqeberha, followed by a show at The Playhouse Company in Durban beginning on July 26. The Candlelight series has been a resounding success worldwide, captivating audiences in over 150 cities including cultural hubs like Cape Town, Johannesburg, Paris, London, Los Angeles, and Tokyo. With its unique concept, Candlelight transforms traditional concert experiences into extraordinary gatherings illuminated by thousands of flickering candles, creating an intimate atmosphere filled with the grandeur of live classical performances. The venues selected for the upcoming concerts perfectly reflect the ethos of the Candlelight experience. The Feather Market Centre, an iconic Victorian landmark in Gqeberha, and the historic elegance of The Playhouse Company in Durban promise to provide stunning backdrops to this one-of-a-kind musical journey. Guests will be treated to an array of performances that begin with tributes to modern musical geniuses such as Coldplay and Queen, alongside classical masterpieces like Vivaldi's Four Seasons. These concerts aim to bridge the gap between classical music and a wider audience, inviting those who might typically shy away from concert halls to partake in the celebration of sound. Candlelight concerts are distinguished not only by their captivating ambience but also by their commitment to showcasing local talented musicians. Each artist shares a belief that classical music should resonate beyond traditional boundaries. By offering a repertoire that includes everything from Vivaldi and Mozart to contemporary hits from artists like ABBA and Ed Sheeran, Candlelight engages a diverse audience, ensuring that there is something for everyone. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕
Irish Examiner
04-05-2025
- Entertainment
- Irish Examiner
Culture That Made Me: Music maestro David Brophy picks his touchstones
David Brophy, 53, grew up in Santry, Co Dublin. In 2007, he was appointed principal conductor of the RTÉ Concert Orchestra. He has conducted orchestras at major international events, including Queen Elizabeth II's state visit to Ireland in 2011. He was made principal conductor with Cologne's WDR Funkhaus orchestra in 2024. He will conduct the Irish Chamber Orchestra for A Midsummer Night's Dream, May 27-June 2, Blackwater Valley Opera Festival, Lismore Castle, Co Waterford. See: Brothers in Arms I remember aged 13 or 14 buying Dire Straits' Brothers in Arms. The lyrics are great. There's outstanding hooks and guitar riffs on it. I can still hear that opening guitar riff on Money for Nothing, with those parallel fifths, and the hairs on the back of my neck stand up. A world opened up to me – it was music you didn't necessarily hear on Top of the Pops. It's well put together – all the tracks lead from one into the other. It was the first album I got that made me listen to music differently. It's amazing. Vivaldi's Four Seasons I didn't do classical music at school. The first classical music thing I bought was aged 17. I stumbled across Vivaldi's Four Seasons. I listened to that so much the spool on the tape eventually gobbled itself up. They were the days when music was perishable. Riffing and the notion of a small group of notes that becomes arresting finds its beginnings with Vivaldi's Four Seasons. There's a lot of music in it that has been used by rock musicians over the years. Jon Lord Great musicians I've worked with over the years have listened to lots of different types of music. I worked with Jon Lord at the RTÉ Concert Orchestra many years ago. I remember having a drink with him after the gig, and we spent the whole evening sitting in the Shelbourne bar talking about Beethoven. He didn't wanna talk about everything else. He wasn't interested in talking about Deep Purple. I see music as a continuum. I don't see a huge difference between Vivaldi and Deep Purple. The Shining Jack Nicholson as Jack Torrance in The Shining The music in The Shining is amazing. Stanley Kubrick married music and tension in a scene in a way no other director has done. That scene where Shelley Duvall's character comes down the stairs – and Jack Nicholson has been writing whatever novel he's been writing – and she sees written across all the pages, 'All work and no play makes Jack a dull boy.' All that music you hear in the background is from Bartók's Music for Strings, Percussion and Celesta. I love that film – the lighting, the cinematography. The acting is unreal. All the scenes are the perfect length. There's a look off it. It's cleverly done. It's one of those films I know inside out. Woody Allen Years ago, I was a big Woody Allen fan. I was first attracted to his films because he's the underdog. I identified with him. I was bullied badly at school and have all my scars that we all have from school. That dry New York wit, the droll underdog sense of humour made me laugh all the time. I didn't relate to swashbucklers in movies, but I related to Woody Allen as a teenager. Enda Walsh Mikel Murfi, Cillian Murphy and Stephen Rea during a photoshoot for Ballyturk. I'm a big Enda Walsh fan. I remember in particular seeing Ballyturk with Stephen Rea, Cillian Murphy and Mikel Murfi, three legends on stage. I felt reassured leaving it because I felt, oh, somebody else sees the world like me. I find the world of his plays completely normal. He taps into the deep psychosis we walk around with all day long. Stephen Rea sang in the play. His mic came down, like one of those microphones that come down in boxing arenas. I spoke to Stephen afterwards, and he goes, 'Oh, Brophy, if I'd known you were there, I'd never have sung.' Benjamin Britten I did a foundation course in Dublin College of Music back in the late 1980s. I got exposed to Benjamin Britten. He was seen as being scary, very modern music. I remember buying his Sinfonia da Requiem and his Cello Symphony, which blew my mind. It wasn't atonal, but it was weird music, unlike music I'd heard before, using an orchestra with all the instruments. I don't know why somebody who had a diet of chart music and a bit of Vivaldi suddenly jumped into Benjamin Britten, that's quite a leap, but I became fascinated by his music. Under the Moon I started working with traditional musicians, and delving into the world of trad, in my mid- to late-twenties. I bought Under the Moon by Martin Hayes with Steve Cooney. I remember listening to it and pennies dropping, thinking there's a circle here between all the baroque music I'd be listening to and traditional Irish music. It's a seminal album for me, still a go-to. It's fantastic. Mise Éire Seán Ó Riada saw himself taking central European avant garde music to Ireland and exploring that world. He did something embryonic but simple, like that opening chord in the strings, which is just tremolo. Everyone's moving their bow very fast. That creates huge expectations straightaway. Then you get the opening horn solo on Roisín Dubh. It's very clever, very simple. He managed to distill traditional elements and put them in an orchestra context. He took trad – music from an oral tradition, domestic music, played in your house by your family, or played in the local pub – and he made it cinematic. That's the genius of it. He gave it a brand new canvas. BB King I went to see U2 on their Lovetown Tour. They played at Dublin's Point Depot in late December 1989. I was blown away by BB King and his band, who supported them, that night. At the time, I didn't realise the legend that BB King was. He had all these amazing jazz/blues musicians from America in his band, there playing at the Point. My jaw hit the ground.. It was unreal. I'll never forget the sheer sense of virtuosity. Grigory Sokolov Around the same time, I went to Dublin's Concert Hall to see the great Russian pianist Grigory Sokolov. He played music by Rameau, an eighteenth-century French composer. On the grand piano there are three pedals. The left pedal is called 'the una corda pedal', the softer pedal. He used that pedal in a way I've never heard in my life. The colours he got from the piano – I was completely mesmerised. One of the best concerts I was ever at. Simon Rattle I saw the English conductor Simon Rattle conduct in Dublin last September. He was on tour with the Bavarian Radio Symphony Orchestra in Germany. The magic is in what he doesn't do. He knows exactly what is the minimum he needs to do with the orchestra. Like, if you look at Usain Bolt's cheeks when he runs, his face is unbelievably relaxed. That sense of being able to let go to create something amazing is what Rattle has. The best people don't try. They just do. They've got that flow. Read More Matt Cranitch takes a bow for lifetime of musical achievement
Telegraph
01-05-2025
- Entertainment
- Telegraph
The Four Seasons, review: Tina Fey's new relationship comedy is a midlife misfire
The mid-life crisis is a much-travelled road for comedy and drama. The older successful man ditching wife and family for younger, buzzier girlfriend is very familiar territory for Hollywood types: it's practically the law. So can Tina Fey and Steve Carell 's The Four Seasons (Netflix) bring something new to the party? Sadly, no. It's 45 years since Alan Alda's original Four Seasons movie, a neat idea that framed the ups and downs of three couples, all lifelong friends, around Vivaldi's classic concerti. In a sweet nod to the past, Alda makes a brief cameo as a character's father and things have moved on in this remake, but only in baby steps. The original had three straight couples – I know, the very idea – but now we get a standard-issue gay pair completing the line-up. You could say that shifts the dynamic, but there's so little emotional heft binding these supposedly best buddies together that sexual orientation is neither here nor there: none of these couples feel real together and, as a group, their relationship is even more pasted on, for all the forced hilarity of their communal gatherings across four separate trips. There are echoes of White Lotus in the couples-on-holiday scenario, but we are nowhere near Jennifer Coolidge levels of hilarity. Fey, Carell and a gang including a criminally misused Colman Domingo try to mine hilarity out of the fault lines opening up in their relationships but what's presumably meant to be witty and sharp simply comes across as bitter and mean. There are few gags here, just endless bitching and backbiting. Fey's character Kate, in a rare moment of piercing self awareness, declares, 'Maybe I'm not as charming as I think I am' – she'd be right there – but it's a rare moment of insight amid the sea of stereotypical self-absorption that The Four Seasons paddles in without ever diving truly, madly, deeply into the troubles bedevilling these charm-free chumps. Things do look up in episode six, if you can make it that far, when Carell's cheater Nick squirms as daughter Lila unloads on her not-very-darling dad with an experimental college play performance that takes no prisoners. The retro bookcase that Nick's super-fit girlfriend Ginny had bought her as a supposed bonding gift gets smashed to bits on stage, Ginny's character brutally assassinated: 'Her personality is squats!' If only The Four Seasons had channelled more of that revenge vibe. Instead it shot out random barbs – like, aren't today's booze-free vegan kids real party poopers? – without hitting the target. Sadly, Lila's vitriol is soon diluted by a series of bland kiss-and-make-ups and a plot twist that is pure plot device to service a flaky message that runs something along the lines of 'make the best of what you've got because you never know how long it will last£. Or maybe it was 'with friends like these, who needs enemies?' What a waste of the assembled talent. The real crime, though? It will be a long time before I can hear Vivaldi's music, carelessly smeared across the soundtrack, without triggering memories of this midlife misfire.
