opera

saying that opera and ballet don’t matter to anyone

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A conversation about the future of cinema in theaters unleashed, almost accidentally, one of the most unexpected cultural controversies of the final stretch of the awards season that we are experiencing. Timothée Chalamet had the unfortunate idea of ​​using opera and ballet as symbols of cultural irrelevance, and the institutions in the sector have responded, while Chalamet’s chances of winning an Oscar that many took for granted have begun to be questioned. I didn’t want to dance. Chalamet did not intend to talk about opera. The conversation, held last March 4 with his partnerInterstellar‘ Matthew McConaughey, revolved around something broader: whether theatrical cinema has a future and whether actors should beg audiences to come see it. Chalamet defended that good films (he gave as an example the Barbenheimer phenomenon) they don’t need anyone to promote them. And to illustrate the alternative, he resorted to a somewhat cornerstone image: “I don’t want to work in ballet or opera, which is like ‘hey, keep this alive even if no one cares anymore.’” And he added: “with all due respect to the people of ballet and opera.” Too late. Some answers. The institutions linked to opera and ballet were the first to respond: the Royal Ballet and Opera of London posted on Instagram on Friday a video of artists and technicians on the theater stage. In the description they invited the actor to reconsider his position, without any conflict. The English National Opera was somewhat more aggressive: posted a photo of Chalamet along with his viral date and offered him free tickets with the code “Timothée” so he could “fall in love with opera again.” The Seattle Opera went in the same direction: 14% discount on your production of ‘Carmen‘ using the same code. In a later interview, the Royal Ballet and Opera made it clear: Ballet and opera have influenced contemporary theatre, film, fashion and music for centuries, and millions of people around the world continue to attend their performances. That is, it is not a dying industry. In addition, it was mentioned how the company distributes its productions in more than 1,500 movie theaters in 50 countriesand its own executive director noted in the presentation of that season that three quarters of the institution’s activity occurs outside the Royal Opera House. The artists come in with a bang. People like the Colombian opera singer Isabel Leonard have been less diplomatic, saying on social media that “only a weak person or artist feels the need to belittle the arts that precisely inspire those who seek slower and more contemplative experiences.” The Colombian dancer Fernando Montaño published a formal letter on Instagram: comparing artistic forms, he wrote, limits growth and blocks the ability to develop one’s talent. London dancer Anna Yliaho was more succinct: Only an insecure artist, she said, destroys another discipline to elevate his own. The Irish baritone Seán Tester commented that confusing popularity with value is a fundamental error. From Spain, the orchestra director Alondra de la Parrafrom the Orchestra and Choir Foundation of the Community of Madrid extended the invitation of so many other institutions to Chalamet to come see them and change his mind. Many of these statements were collected in the aforementioned article from The Hollywood Reporter. The worst moment. The statements come at the worst possible time for Chalamet’s campaign in search of the Oscar for Best Actor for ‘Marty Supreme’, one of nine for the film, including the top prize. Chalamet has had a certainly notable career in awards, since at only thirty years old he became youngest male actor to accumulate three nominations for best performance since Marlon Brando. For months, in fact, it has been the favorite, and won at the Critics Choice and the Golden Globes. But the back-and-forth of the months leading up to the awards seems to have taken its toll on the film: first an article about director Josh Safdie’s behavior on a previous shoot. Then the defeat at the BAFTAs (without a single award and with 11 nominations, a record for failure in the contest), followed by the defeat at the SAGs, where Michael B. Jordan won for ‘Sinners’ (becoming the new Oscar favorite). And now, these statements, in line with the Chalamet’s aggressive promotion stylebut that can turn away the most traditional voters. In Xataka | Cameron’s ‘Titanic’ was going to be a flop. Until a trailer that broke several Hollywood rules changed the narrative

That Oracle speaks out on the soap opera between NVIDIA and OpenAI is a bad sign. That it will not have benefits until 2029, too

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Oracle counted in a tweet that the agreement between NVIDIA and OpenAI has “zero impact” on your financial relationships with the company that owns ChatGPT. This is more complicated than it seems, because the AI ​​business could end up collapsing if a large company like NVIDIA or Oracle shows even a hint of doubt towards OpenAI. The latest statements by Jensen Huang, CEO of NVIDIA, have made the market nervous, although Oracle’s path is not very encouraging either. Why is it relevant? Oracle just announced that will raise between 45,000 and 50,000 million of dollars this year through debt and equity issuance to build cloud infrastructure for its large AI clients. Among them, OpenAI stands out with a contract of 300,000 million of dollars for five years that starts in 2028. The problem is that OpenAI is not profitable right now, and Oracle needs OpenAI to raise capital so that it can pay it. It is a circular financing circuit where everyone depends on everyone Keep signing checks. The numbers don’t add up yet. The contract with OpenAI involves about $60 billion annually starting in 2028. To fulfill it, Oracle must buy approximately 400,000 chips NVIDIA’s GB200, with an estimated cost of $40 billion just for its flagship data center in Abilene, Texas. Meanwhile, OpenAI’s total revenue in 2025 was around $13 billion, according to Bloomberg. Oracle is betting its bottom line that a company that currently burns more cash than it generates can pay bills equal to five times its current annual revenue. The alarm signals. In January, investors accused Oracle of hiding the need for more debt to finance its AI infrastructure, according to Reuters. Oracle’s debt-to-equity ratio is at 6x, and credit default swaps reached levels not seen since the 2008 financial crisis in December, according to point Bloomberg. In addition to all this obstacle, Oracle’s action has fallen 50% from its September peak, when it announced precisely the agreement with OpenAIerasing some $460 billion in market capitalization. ANDnegative n until 2029. Developing data centers for AI has pushed Oracle’s free cash flow into negative territory, where it is expected to remain until 2030, according to data compiled by Bloomberg. Jefferies esteem that the company will need to raise more funds in 2027 and subsequent years, since cash flow will not return to positive until 2029. Oracle plans to raise 50 billion: half through equity, with convertible preferred securities and a share sale program of up to 20 billion, and the other half through a single bond issue in early 2026. Between the lines. What really worries the market is the structure of mutual dependence. NVIDIA funds OpenAI. OpenAI pays Oracle. Oracle buys chips from NVIDIA. Everyone’s income growth depends on everyone else continuing to write checks. When Jensen Huang, CEO of NVIDIA, declared to journalists that the 100 billion agreement with OpenAI “was never a commitment” and that they would invest “step by step”, Oracle had to come out with that tweet to calm the waters. And that tweet is precisely the type of communication that worries investors. Cover image | IEEE Awards, Hartmann Studios, Wikimedia Commons In Xataka | The CEO of Airbnb is clear that there are companies with too many meetings: his trick is to follow Jony Ive’s philosophy

Opera Neon promises to be the future of the browser. It is an ambitious vision yet to mature

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I’ve been using it for a week Opera Neon and I don’t know if I’m testing the future of web browsing or participating in a psychological experiment on how much friction a human tolerates before returning to their usual browser. Probably both. Neon comes standard with everything that any veteran Opera user takes for granted: side messaging integrations, music apps in streamingthe multimedia panel… It is the reminder that, despite all the agentic experimentation, there is still an Opera underneath: practical, comfortable and designed for those who live glued to several platforms at the same time. The promise is seductive: a browser that not only answers questions, but act for you. Who browses, compares, reserves, creates. Who understands what you want to do and does it while you focus on more important things. Opera calls this “agentic AI“, and technically it is correct: Neon can take control of the browser, open tabs, fill out forms, compare products. It is AI with hands, it is Opera’s proposal for the same field as Perplexity with Comet or OpenAI with ChatGPT Atlas. The problem is that those hands are sometimes clumsy, unpredictable and dangerously overconfident. Opera Neon maintains all the classic features of Opera, such as the side panels to display messaging mini-applications or streaming music on an upper layer. In the image, Apple Music. Image: Xataka. Three brains in one body To understand Neon you have to accept that It is not an AI browser. It is a browser with three AIs living together. Chat, Do and Make. Each one with its function, its purpose, its personality. And here begins the first big problem: knowing which one to use at all times is a guessing exercise. Chat is the most familiar. A conversational chatbot that answers questions, summarizes pages, translates texts. Typical. It works well when you’re not making things up, which is about 70% of the time. I asked him to count the comments on several articles and he responded with 400 words explaining that there were none. when there were four. Do is where magic and terror live. You ask him to book a CrossFit class, find the cheapest flight to Lisbon, compare prices on headphones, unsubscribe from some newsletters. And sometimes it does. Open tabs, browse websites, fill out fields. Watching him work is hypnotic. It’s also slow, erratic, and occasionally catastrophic. In a test I asked her to add flowers to a store cart. Instead of somehow inferring my zip code or asking me about it, he directly introduced 28001: madridcentrismo to the song. While I, helpless, did click on the correct options that I was completely unaware of. There is no way to correct it while working. You can only watch, like someone who sees their autonomous car getting dangerously close to the cliff. A zip code just because, 350 km from my house. Image: Xataka. Neon spent an absurd amount of time wandering around the web, adding the bouquet to the cart, getting stuck on the shipping zip code, not feeling like anything productive was happening. Image: Xataka. Another example with Do: Image: Xataka. What he did was open Google Shopping, enter the term and not be able to click ‘Search’, apparently due to some subtle change in the website’s code. I gave it myself and Neon continued. It took a long time just to choose the order by price from lowest to highest. Finally he wrote the answer: Image: Xataka. Happy ending, although it is difficult to think of use scenarios where the use really compensates for the time and supervision it requires. If someone doesn’t know about Google Shopping, this is a good use case. If someone knows Google Shopping, they only have to do two clicks. Another example: reading some recipes Straight to the PalateI asked him to add all the ingredients necessary to make them to the Mercadona cart. Let’s go to trouble. Image: Xataka. Image: Xataka. This was one of those scenarios where there was no way I was going to complete the mission. Image: Xataka. Make is the most ambitious. Generate code, build web applications, create videos. I asked him for a memory game with Spanish vocabulary and he did it in minutes. Rough, but functional. It’s like having a mini-developer living in your browser, working in a virtual environment that disappears when you close the tab. A brilliant idea. A little polished perhaps, but brilliant. Image: Xataka. There are also the cardsa kind of templates prompts that function as mental shortcuts. You can combine them – “summarize + compare”, “decisions + follow-up” – or create your own so you don’t start from scratch every time you talk to the AI. It’s a simple but powerful idea: it makes user learning part of the system. Similar to what you propose Day with his Skills. It’s a good idea. What is not being said about Opera Neon Here comes the part that interests me the most, the one I read between the lines after a week living with this thing. Opera Neon is not really a product. It is a testing ground with product pricing. It is a public beta disguised as a premium service. And that wouldn’t be so much of a problem if it didn’t cost $20 a month. Let me be clear: I’ve seen enough technology launches to recognize when a company is testing concepts in the open field. And Neon is that. The bugs They are not occasional, they are structural, like the hallucinations. The Do agent disconnects if your computer goes to sleep. Chat responses are verbose. The Cards interface—those shortcuts prompts reusable—is full of examples with no real useful content. Cards examples interface. Image: Xataka. But there’s something more interesting going on here. Opera is making a counterintuitive bet at the worst possible time. We are in 2025: Google gives away Gemini in Chrome. Perplexity has Comet. The Browser Company (Arc’s company) has Day. Microsoft puts Copilot everywhere. And OpenAI recently launched ChatGPT Atlas. … Read more

There is a new chapter in the Nexperia soap opera, one in which China wins the game

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There are new developments in the chip war between the Netherlands and China, which has the company Nexperia at the center. After a tense escalation and the blockade that threatened to paralyze factoriesthe situation has improved after the meeting between Trump and Xi Jinpingbut there is something else. Almost at the same time, Nexperia China made a decision that changes everything: they will take care of the manufacturing of all the chips without depending on Holland, which would mean the definitive divorce from what was their headquarters. A divided company. Since last October 13 The Dutch government decided to take control of the companyNexperia split in two and was caught between two pieces of legislation. On the one hand, the headquarters in Holland controlled by the Dutch government and on the other its subsidiary in China, which The Chinese government banned the export of components. What followed was an increasingly tense exchange: the Chinese subsidiary broke ranks with the parent company and began to act independently and then from Holland They stopped supplying wafers for their chips as “a direct consequence of the recent failure by local management to comply with contractually agreed payment terms.” The automobile sector was shaking in the face of supply cuts and warned that factories could be paralyzed. Nexperia China. In a statement published by Beijing Dailydescribe the accusation as completely false and affirm that, not only have they not breached the contract, but that the Dutch parent company owes them 1,000 million yuan (about 122 million euros). They continue: “The unilateral suspension of supply by Nexperia completely ignores the interests of customers, seriously violates contractual agreements and the principles of business cooperation, seriously damages customer trust and constitutes an extremely irresponsible act.” Full China. Nexperia China will continue to operate independently and they assure that they have enough stock to supply their international customers “until the end of the year and beyond.” Furthermore, before the controversy Nexperia was already responsible for 70% of production; What Europe supplied them was mainly the wafers or wafers. Nexperia China says in its statement that they are “accelerating verification of new wafer capacity,” the key component to its full independence. The meeting. In it statement issued by the White House Following the meeting between Trump and Xi Jinping, it is said that “China will take appropriate measures to ensure the resumption of trade from Nexperia’s facilities in China, allowing production of critical legacy chips to reach the rest of the world.” That is to say, the blockade is coming to an end, the curious thing is that at no time does it mention anything about Holland or Europe. Nexperia Netherlands. The Dutch headquarters welcomed the agreement between the presidents of both nations, but did not comment on the Chinese subsidiary’s intention to accelerate its industrial independence. If Nexperia China finally completes its total spin-off, the European subsidiary could end up being a kind of ghost company empty. Images | Nexperia In Xataka | In its race to make advanced chips, China has tried to copy ASML. It’s going wrong

they needed to be a perpetual soap opera

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In Spain we like a good story of rise, fall and recovery, but all very passionate and Mediterranean: backstabbing, toxic abysses and a discography that marked a generation. Van Gogh’s Ear once again has Amaia Montero in frontleaving Leire (and some other unexpected martyrs) along the way. We review this roller coaster of successes and failures, detailing all the lore of this story that now opens a new chapter. First successes. Amaia Montero was the original vocalist of La Oreja de Van Gogh from its beginnings in 1996 until 2007. During that period, the group achieved massive success with best-selling albums (Copperpot’s Journey, 2003, sold two and a half million albums in Spain and Latin America, where the group had a significant presence) and awards as important as a Latin Grammy and several Ondas Awards. Amaia’s characteristic voice marked a before and after in Spanish pop with songs prior to the steamroller of Latin sounds that was about to reach our music: ‘El 28’, ‘Cuéntame alhear’, ‘Cuídate’. ‘The beach’, ‘Pop’, ‘You can count on me’, ‘January 20’, ‘Roses’, ‘Rag doll’, ‘Sweet madness’… Amaia comes out. On November 19, 2007, Amaia Montero announced her departure from the band to pursue a solo career, a decision motivated by her desire to grow personally and professionally. That was the official version. Apparently, there were no conflicts or fights, but simply the desire to explore new musical horizons. La Oreja de Van Gogh continued with a new vocalist, Leire Martínez, while the relationship between Amaia and her former colleagues deteriorated: there were statements that reflected a cordial relationship but with some unresolved difficulties. Amaia free. Amaia Montero He started his solo career very soon.in 2008 (perhaps that was what disturbed the calm in the band?) with a self-titled album that reached number one in sales, and with a single, ‘ Quiero ser ‘, of considerable impact. But at this stage Amaia experienced complicated moments, with criticism of her appearance and concert recordings where he did not show his best physical condition. In 2020 he moved away from public life to “cure himself” and in 2022 he entered a clinic for a strong stress and anxiety. In 2023 things did not seem to improve: she was admitted to the ICU of a Madrid hospital for a cut on her hand. Now she seems to have recovered from these setbacks ahead of her new stage at LODVG. Leire lives, the fight continues. Van Gogh’s Ear has operated for sixteen years with Leire as the front, which is said to be early. His albums with the band, no less than five, performed well in sales (although without going overboard: in the best cases, around 500,000 copies, although we already talked about the era of streaming) and continued filling large venues. The group evolved, thanks to the quality of its singer, towards a more intimate and less strident pop, but they stopped appearing on the front line, as was the case with Amaia. Leire’s departure from the band, officially on October 14, 2024was peaceful although it was not lacking in bitterness: Leire has always stated that her former colleagues did not discuss her departure with her. And he sold his memorabilia on Wallapop, in a promotion with very bad grapes. Rumors begin. Above Amaia’s health problems and her lyrical drifts, the soap opera begins here thanks to the connotations of the replacement, not as oxygenated as the group wants to make it out. To begin with, the replacement was on the table before Leire left, which would undoubtedly strain the relationship between the new singer and her colleagues. Different signs were multiplying the rumors, such as Amaia’s appearance at a Karol G. concert to perform ‘Rosas’, certifying de facto that she was ready to front her old band again. Amaists against Leirists. The announcement of Amaia’s return occurred on October 14, 2025, just one year after Leire left the band. Classy. And on social networks, the group’s bio has changed to “Only together makes sense”, a phrase with more substance than it seems: the group used it when They decided to continue without Amaia). The deletion of Leire’s farewell from social networks and the replacement by a blank post has unleashed a war of comments between fans of both vocalists, something unexpected for a band with a style as pop and melodic as that of La Oreja de Van Gogh. Such dedicated fans would love Insane Clown Posse. Fans on fire. “I was never a fan of Van Gogh’s Ear, but I was always a fan of Leire Martinez”, “Van Gogh’s Ear is not coming back, Judas’s Kiss is coming back”, “The Queen of Pop is finally back!” or “Getting back with your ex is the worst thing you can do” are some of the niceties that are being read to accompany the first post of the second era with Amaia at the helm. A stark war which we will continue talking about in the coming weeks, without a doubt: to begin with, Pablo Benegas, one of the founders of the group, has decided to abandon training without giving further explanations. This return is going to bring a queue and more than one soaked face. In Xataka | The 51 musical gems to listen to if you don’t want to miss the best of the 21st century

Pepe Gámez is Sebastián Cruz in “The boss”, the new soap opera that Telemundo will premiere in February

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Pepe Gámez It is part of the cast of the new Telemundo soap opera. “The boss” is a production starring Iván Arana and Fabiola Guajardo. In this story, Gámez gives life to Sebastián Cruza character complicated by his forms and his surroundings that complicated the actor’s life a bit when finding the best way to interpret it. We talked about these problemsabout the passion he finds in his work and about the constant gratitude he lives for the love he has received from the public in recent years, as well as we remember his time THE HOUSE OF THE FAMOUS, THIRD SEASONon the eve of the start of the All-Stars edition. Yon González and Samantha Siqueiros will star “Velvet”, the Telemundo version Pepe told us that when approaching Sebastian sought how to portray his imperfections well as well as the qualities of the same. He explained that physically, his character lives with a peculiarity that led him to try the fullest not to forget it in the day to day of the recordings. The Mexican actor admits that with Sebastián he found himself at a point of restlessness because there were times when he felt he did not know how to approach what was expected of the character, until he joined his work with the work of the director and on a day -to -day basis They were building something that left him full and aware of having given his best in each scene. And with such a conversation with Pepe Gamez, you realize how much the actor values ​​and respects his work. That being an actor for him has nothing to do with the pleasure of the reflectors, only, it is known that the consequence of success is the public attention that he appreciates. Pepe is 43 years old, he was born in Tamaulipas, Mexico and has worked on more than 17 television projects. In 2023, criticism applauded Gámez’s work in the soap opera “Set of lies”, his character became the most unexpected person in history and this moved the public in various ways, because his role in “Chuy” Marín generated love, fear and anxiety in viewers. So also happened with his character from Juan López in “Mariposa de Barrio”where he connected with the Hispanic public in generous ways. But it was his passage through the house of the famous 3 that led him to connect in unsuspected ways with the public, because there the fans did not fall in love with a character, but of the real human being, of which it does exist and not a fiction . About this he says he is “very grateful for the amount of love and support I have received from people.” Do not miss the premiere of “The Chief” on Telemundo on February 18 in her prime-time. Keep reading more of soap operas here:· Billboard chooses “Marimar”, from Thalia, as the best soap opera theme· The actor and singer Eduardo Xol dies at 58, after being stabbed· Juan Ferrara announces his retirement from the theater (Tagstotranslate) Telemundo (T) Telenovelas

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