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Schonberg, Harold C. (1975). The Lives of the Great Composers: Volume 2 . London: Futura Publications Ltd. ISBN 0-86007-723-3. Catullus begins the poem by talking about his friend Varus who took him from the Forum. At this time, Catullus was relaxing, but Varus took him to see his mistress. Catullus noticed that the mistress was a “nice little whore” at first glance. In line four, he said she was nice looking, as she wasn’t amiss in manner or looks. Wright, Lesley A. (2000). "Introduction: Looking at the Sources and Editions of Bizet's Carmen". In Dibbern, Mary (ed.). Carmen: A Performance Guide. New York: Pendragon Press. ISBN 1-57647-032-6. Nietzsche, Friedrich (1911). The Case of Wagner (Vol. 8 in The Complete Works of Friedrich Nietzsche). Translated by Anthony M. Ludovici. London and Edinburgh: T. N. Foulis. OCLC 418505. Dennis E. Trout, Paulinus of Nola. Life, Letters, and Poems, Berkeley, Los Angeles and London: University of California Press, 1999: 68.
Each colour code was diluted 1:10 in LB broth (a medium that yields droplets of similar size to droplets made from PCR products and detection reagents) to a final total 3-dye concentration of 20 µM. Each solution was emulsified into droplets as described in ‘Colour coding, emulsification and droplet pooling’ under ‘General procedures’. The 1,050-colour-code set was characterized in 3-colour space and along the 4th colour dimension as described below. Characterization of the 1,050-colour-code set in three-colour space The SNP index was calculated for each sample and each mutation by taking the ratio of the derived-allele-targeting crRNA and the ancestral-allele-targeting crRNA. In the heat maps, SNP indexes were normalized by row (in Fig. 4b, d). Sequencing data analysis Of the 169 HV10 species, 164 have designs with 3 or fewer primer pairs (total of 187 primer sequences required to cover these 164 species: 145 have 1 primer pair, 15 have 2 primer pairs, and 4 have 3 primer pairs). There were four species that required more than three primer pairs: lymphocytic choriomeningitis virus (7 primer pairs), norovirus (4 primer pairs), betapapillomavirus 2 (6 primer pairs) and Candiru phlebovirus (6 primer pairs). These four species were combined into a single ‘diverse’ primer pool at 150 nM final concentration. This is pool 2, as shown in Fig. 2c. Degenerate primer pool Miniaturized and self-organizing microfluidic technology enables massive multiplexing of biochemical and cellular assays 17, 18, 19, 20, 21. We recently developed a microwell-array system that harnesses miniaturization and self-organization to perform comprehensive combinatorial experiments. In this system, the user prepares a collection of inputs as droplet emulsions, and the input droplets organize themselves in the wells of the array, creating all possible pairwise combinations in replicate without additional user effort or active instrumentation 8. We envisioned that CRISPR-based nucleic acid detection could be integrated with the microwell-array system to test many amplified samples for many analytes in parallel.
Recordings of Carmen by Georges Bizet on file". Operadis. Archived from the original on 8 April 2012 . Retrieved 30 March 2012. For the full panel testing (169 × 169), a single replicate of the equivalent experiment conducted in 96W plates would require ~300 plates and >1 l of detection mix. Threshold analysis of HV panel synthetic targets In 1883, the Spanish violinist and composer Pablo de Sarasate (1844–1908) wrote a Carmen Fantasy for violin, described as "ingenious and technically difficult". [102] Ferruccio Busoni's 1920 piece, Piano Sonatina No. 6 (Fantasia da camera super Carmen), is based on themes from Carmen. [103] In 1967, the Russian composer Rodion Shchedrin adapted parts of the Carmen music into a ballet, the Carmen Suite, written for his wife Maya Plisetskaya, then the Bolshoi Ballet's principal ballerina. [104] [105]
Pairs of crRNAs were designed for HIV DRM identification using three different strategies: mutation in position 3 and synthetic mismatch in position 5, DRM codon in positions 3–5 and synthetic mismatch in position 6, and DRM codon in positions 4–6 with synthetic mismatch at position 3. Sequences were designed on the basis of the HIV subtype B consensus sequence, using the most-commonly used codons for each respective amino acid in the Stanford HIV Drug Resistance Database 35. All designs were experimentally tested, and the best-performing design was chosen for the final panel. Microwell-array chip design and fabrication Microwell-array design Forbes, Elizabeth. "Bouhy, Jacques(-Joseph-André)". Oxford Music Online . Retrieved 1 March 2012. (subscription or UK public library membership required) Sarasate, Pablo de". Oxford Music Online . Retrieved 5 June 2012. (subscription or UK public library membership required) A schematic overview of the HV panel sequence design strategy is shown in Extended Data Fig. 5h. In brief, the design pipeline consisted of viral genomes segment alignment and PCR amplicon selection followed by crRNA design that accounts for cross-reactivity. Finally, PCR primers were pooled by genus. All sequences are in Supplementary Data 2. Viral genome segment alignmentThe term opéra comique, as applied to 19th-century French opera, did not imply "comic opera" but rather the use of spoken dialogue in place of recitative, as a distinction from grand opera. [21] Amplified samples and detection mixes (18 μl) were colour coded using a subset of the 64-colour-code set. Colour-coded solutions were emulsified into droplets, pooled and loaded onto a standard chip (see ‘Colour coding, emulsification and droplet pooling’ and ‘Loading, imaging and merging microwell arrays’ under ‘General procedures’). The chip was imaged with a 2× objective to identify colour codes, droplet pairs were merged, and reporter fluorescence in each well was measured by fluorescence imaging at 30 min or 3 h (see ‘Loading, imaging and merging microwell arrays’ under ‘General procedures’). Data were analysed as described in ‘Data analysis’. Analysis of patient sample testing with the HIV RT DRM panel Carmen herself, says Dean, is a new type of operatic heroine representing a new kind of love, not the innocent kind associated with the "spotless soprano" school, but something altogether more vital and dangerous. Her capriciousness, fearlessness and love of freedom are all musically represented: "She is redeemed from any suspicion of vulgarity by her qualities of courage and fatalism so vividly realised in the music". [25] [34] Curtiss suggests that Carmen's character, spiritually and musically, may be a realisation of the composer's own unconscious longing for a freedom denied to him by his stifling marriage. [35] Harold C. Schonberg likens Carmen to "a female Don Giovanni. She would rather die than be false to herself." [36] The dramatic personality of the character, and the range of moods she is required to express, call for exceptional acting and singing talents. This has deterred some of opera's most distinguished exponents; Maria Callas, though she recorded the part, never performed it on stage. [37] The musicologist Hugh Macdonald observes that "French opera never produced another femme as fatale as Carmen", though she may have influenced some of Massenet's heroines. Macdonald suggests that outside the French repertoire, Richard Strauss's Salome and Alban Berg's Lulu "may be seen as distant degenerate descendants of Bizet's temptress". [13]
a b Canby, Vincent (20 September 1984). "Bizet's Carmen from Francesco Rosi". The New York Times. Archived from the original on 1 December 2016. The fidelity of the colour code strategy in three-colour space was measured as described previously 8. Each colour code in three-colour space was assigned to one of three chips. Assignments were made to maximize the separation between the colour codes on any chip, and each chip received a third of the colour codes (70 total) (Extended Data Fig. 4b, c). Droplets from colour codes assigned to Chip 1 (70 3-colour codes × 5 UV concentrations = 350 droplet emulsions) were pooled (see ‘Colour coding, emulsification and droplet pooling’ under ‘General procedures’) and loaded onto a standard chip (see ‘Loading, imaging and merging microwell arrays’ under ‘General procedures’). Chips 2 and 3 were prepared in a similar manner. The chips were imaged (see ‘Loading, imaging and merging microwell arrays’ under ‘General procedures’; note that no merging was performed in colour code characterization experiments), and each droplet was computationally assigned to a colour code cluster. The experimental results from chips 1, 2 and 3 served as ‘ground truth’ assignments. The data from chips 1, 2 and 3 were then computationally combined, effectively increasing the density of colour code clusters in 3-colour space, and the droplets were reassigned to colour code clusters in this more crowded 3-colour space (Extended Data Fig. 4b, c). Finally, a sliding distance filter was applied to remove droplets at the edges of clusters or in between clusters, and the droplets were reassigned to c There is only the slightest connection to the classic Carmen story from the Prosper Mérimée novel that inspired the Bizet opera and many variations, including a ballet, Carmen Jones, and more than a dozen other film adaptations. Though the story concerns love and loss, the characters, and their relationships are completely different. Aiden and Carmen seem to be fated to be lovers, but just as important to the story is “the spine,” Masilda, a formidable dancer who owns a nightclub in Los Angeles. She welcomes Carmen and Aiden as though they were her long-lost children. Tellingly, it is only when Carmen dances with Masilda that she cries, finally sobbing over the loss of her mother. Millepied makes dance the heart of the film, the way the characters express what they are feeling, the way they set the scene and tell the story. One deeply affecting dance number may not be “real” even in the dreamscape of the film. But it tells us everything the characters do not have the words—or the time—to tell each other. With rehearsals due to begin in October 1873, Bizet began composing in or around January of that year, and by the summer had completed the music for the first act and perhaps sketched more. At that point, according to Bizet's biographer Winton Dean, "some hitch at the Opéra-Comique intervened", and the project was suspended for a while. [24] One reason for the delay may have been the difficulties in finding a singer for the title role. [25] Another was a split that developed between the joint directors of the theatre, Camille du Locle and Adolphe de Leuven, over the advisability of staging the work. De Leuven had vociferously opposed the entire notion of presenting so risqué a story in what he considered a family theatre and was sure audiences would be frightened away. He was assured by Halévy that the story would be toned down, that Carmen's character would be softened, and offset by Micaëla, described by Halévy as "a very innocent, very chaste young girl". Furthermore, the gypsies would be presented as comic characters, and Carmen's death would be overshadowed at the end by "triumphal processions, ballets and joyous fanfares". De Leuven reluctantly agreed, but his continuing hostility towards the project led to his resignation from the theatre early in 1874. [26] Georges Bizet, photograph by Étienne Carjat, 1875
Despite its deviations from Bizet's original format, and some critical reservations, the 1875 Vienna production was a great success with the city's public. It also won praise from both Wagner and Brahms. The latter reportedly saw the opera twenty times, and said he would have "gone to the ends of the earth to embrace Bizet". [60] The Viennese triumph began the opera's rapid ascent towards worldwide fame. In February 1876 it began a run in Brussels at La Monnaie; it returned there the following year, with Galli-Marié in the title role, and thereafter became a permanent fixture in the Brussels repertory. On 17 June 1878 Carmen was produced in London, at Her Majesty's Theatre, where Minnie Hauk began her long association with the part of Carmen. A parallel London production at Covent Garden, with Adelina Patti, was cancelled when Patti withdrew. The successful Her Majesty's production, sung in Italian, had an equally enthusiastic reception in Dublin. On 23 October 1878 the opera received its American premiere, at the New York Academy of Music, and in the same year was introduced to Saint Petersburg. [58] Plot twist: opera Carmen altered in anti-violence protest", 11 January 2028, CBC News, Associated Press A 2018 performance at the Teatro Comunale, Florence, changed the ending to take a stand against violence against women. Instead of being killed, Carmen kills Don José with a pistol she grabs from him. [79] Many applauded the change, seeing it as way to break the tradition of representing misogyny in opera while so many women continue to suffer from violence and abuse. [80]
See my essay “‘. . .when who should walk into the room but. . .’. Epistoliterarity in Cicero, Ad Q. fr.. 3.1″, in Morello and Morrison in n. 8, pp. 37-85, esp. 39-41 on the deferrential collage textuality of epistolary culture. Walket, Jonathan, and Latham, Alison. "Shchedrin, Rodion Konstantinovich". Oxford Music Online . Retrieved 14 March 2012. {{ cite encyclopedia}}: CS1 maint: multiple names: authors list ( link) (subscription or UK public library membership required) The term " bass-baritone" is somewhat ambiguous. In the Grove Music Online article on " Baritone", Escamillo is included in various lists of baritone roles, [15] however, the Grove Music Online article on "Carmen", lists Escamillo as a bass-baritone. [13] This article uses the latter, as it more directly identifies Escamillo's voice type. As she dies, she tells her daughter to go to Los Angeles and find her friend, Masilda (Rossy de Palma). “If you are my heart,” she says, “she is my spine.” That daughter is Carmen ( Melissa Barrera of the underseen “In the Heights”). She smears her mother’s blood on her forehead and sets off for the United States. Bootstrapping was performed to estimate the number of crRNA–target pair replicates needed to reliably make a call. Sampling was done on two distributions: (1) crRNA-Target pairs expected to give a positive signal; (2) crRNA-control pairs expected to give a negative signal. A correct call was defined as the median of bootstrap samples from the positive distribution greater than the median of bootstrap samples in the negative distribution. One thousand bootstrap tests were performed for each sample size in the range of 1–15 samples. The fraction of correct calls was plotted as a function of bootstrap sample size. HV panel Nucleic acid amplificationA group of soldiers relax in the square, waiting for the changing of the guard and commenting on the passers-by ("Sur la place, chacun passe"). Micaëla appears, seeking José. Moralès tells her that "José is not yet on duty" and invites her to wait with them. She declines, saying she will return later. José arrives with the new guard, who is greeted and imitated by a crowd of urchins ("Avec la garde montante"). N (neuraminidase) primers were based on the majority consensus sequence for each subtype (9 primer pairs) in a single pool. We used ADAPT to design H (hemagglutinin) primers covering at least 95% of the sequences within each subtype. In total, there were 45 primers (15 forward primers and 30 reverse primers) in a single pool. See Supplementary Data 2 for details. crRNA design Forbes, Elizabeth. "Lhérie [Lévy], Paul". Oxford Music Online . Retrieved 1 March 2012. (subscription or UK public library membership required) The popularity of Carmen continued through succeeding generations of American opera-goers; by the beginning of 2011 the Met alone had performed it almost a thousand times. [66] It enjoyed similar success in other American cities and in all parts of the world, in many different languages. [69] Carmen's habanera from act 1, and the toreador's song " Votre toast" from act 2, are among the most popular and best-known of all operatic arias, [70] the latter "a splendid piece of swagger" according to Newman, "against which the voices and the eyebrows of purists have long been raised in vain". [71] Most of the productions outside France followed the example created in Vienna and incorporated lavish ballet interludes and other spectacles, a practice which Mahler abandoned in Vienna when he revived the work there in 1900. [50] In 1919, Bizet's aged contemporary Camille Saint-Saëns was still complaining about the "strange idea" of adding a ballet, which he considered "a hideous blemish in that masterpiece", and he wondered why Bizet's wife had permitted it. [72] When artistic life in Paris resumed after the Franco-Prussian War of 1870–71, Bizet found wider opportunities for the performance of his works; his one-act opera Djamileh opened at the Opéra-Comique in May 1872. Although this failed and was withdrawn after 11 performances, [4] it led to a further commission from the theatre, this time for a full-length opera for which Henri Meilhac and Ludovic Halévy would provide the libretto. [5] Halévy, who had written the text for Bizet's student opera Le docteur Miracle (1856), was a cousin of Bizet's wife, Geneviève; [6] he and Meilhac had a solid reputation as the librettists of many of Jacques Offenbach's operettas. [7]
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