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Canby, Vincent (3 August 1984). "Screen: Godard's First Name: Carmen Opens". The New York Times. Archived from the original on 23 June 2016 . Retrieved 22 May 2016. For the remaining 149 HV10 species, we pooled primers by genus, such that each pool contained species from 1–3 viral genuses (see Supplementary Data 2 for details). The primers for one species in pool 4 (Torque teno Leptonychotes weddellii virus-1) contain some degenerate bases, and were designed manually. These primers were used at 150 nM final concentration. Coronavirus primer pool 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
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] Sample preparation was performed according to the method outlined in ‘CARMEN sample preparation’. For Zika virus detection (Fig. 1c, Extended Data Fig. 3b–e), RPA was used. RPA reactions were performed using the Twist-Dx RT–RPA kit according to the manufacturer’s instructions. Primer concentrations were 480 nM and MgAc 2 concentration was 17 mM. For amplification reactions involving RNA, Murine RNase inhibitor (New England Biolabs) was used at a final concentration of 2 units per μl. All RPA reactions were incubated at 41 °C for 20 min unless otherwise stated. RPA primer sequences are listed in the supplementary data. RPA reactions were diluted 1:10 in nuclease-free water prior to colour coding. Cas13-detection reactions 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. Steen, Michael (2003). The Life and Times of the Great Composers. London: Icon Books. ISBN 978-1-84046-679-9.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.
Dean writes that Bizet improved considerably on the original melody; he "transformed it from a drawing-room piece into a potent instrument of characterisation". Likewise, the melody from Manuel García used in the act 4 prelude has been developed from "a rambling recitation to a taut masterpiece". [83] As the factory bell rings, the cigarette girls emerge and exchange banter with young men in the crowd ("La cloche a sonné"). Carmen enters and sings her provocative habanera on the untameable nature of love ("L'amour est un oiseau rebelle"). The men plead with her to choose a lover, and after some teasing she throws a flower to Don José, who thus far has been ignoring her but is now annoyed by her insolence.
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To enable highly multiplexed nucleic acid detection, we developed CARMEN (Fig. 1b, Extended Data Fig. 1). The inputs to CARMEN–Cas13 are samples that have been amplified by PCR or recombinase polymerase amplification (RPA) and Cas13-detection mixes, which contain Cas13, a sequence-specific CRISPR RNA (crRNA) and a cleavage reporter 7 (Extended Data Fig. 1). Each amplified sample or detection mix is prepared in a conventional microtitre plate and combined with a distinct, solution-based fluorescent colour code that serves as an optical identifier. Each colour-coded solution is emulsified in fluorous oil to yield 1-nl droplets. Once emulsified, droplets from all samples and detection mixes are pooled into a single tube and—in one pipetting step—are loaded into a microwell-array chip moulded from polydimethylsiloxane (PDMS) (Fig. 1b, Extended Data Figs. 1, 2). Each microwell in the array accommodates two droplets from the pool at random, thereby spontaneously forming all pairwise combinations of dropletized inputs, and the array is sealed against a glass substrate to physically isolate each microwell. The contents of each microwell are determined by identifying the colour codes of the droplets using fluorescence microscopy. Exposure to an electric field merges the droplet pairs confined in each microwell and initiates all detection reactions simultaneously. Fluorescence microscopy is used to monitor each detection reaction (Fig. 1b, Extended Data Figs. 1, 2).
Crowther, Bosley (29 October 1954). "Up-dated Translation of Bizet Work Bows". The New York Times. Archived from the original on 15 May 2012. 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 amplification Meilhac and Halévy were a long-standing duo with an established division of labour: Meilhac, who was completely unmusical, wrote the dialogue and Halévy the verses. [14] There is no clear indication of when work began on Carmen. [19] Bizet and the two librettists were all in Paris during 1873 and easily able to meet; thus there is little written record or correspondence relating to the beginning of the collaboration. [20] The libretto was prepared in accordance with the conventions of opéra comique, with dialogue separating musical numbers. [n 3] It deviates from Mérimée's novella in a number of significant respects. In the original, events are spread over a much longer period of time, and much of the main story is narrated by José from his prison cell, as he awaits execution for Carmen's murder. Micaëla does not feature in Mérimée's version, and the Escamillo character is peripheral—a picador named Lucas who is only briefly Carmen's grand passion. Carmen has a husband called Garcia, whom José kills during a quarrel. [22] In the novella, Carmen and José are presented much less sympathetically than they are in the opera; Bizet's biographer Mina Curtiss comments that Mérimée's Carmen, on stage, would have seemed "an unmitigated and unconvincing monster, had her character not been simplified and deepened". [23] 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.
Bizet had been informed of the impending award early in February, and had told Carvalho's wife that he owed the honour to her husband's promotion of his work. [47] Colour codes served as optical unique solution identifiers for each reagent (e.g. detection mix or amplified sample) that was emulsified into droplets. The original 64-colour-code set was made from ratios of 3 fluorescent dyes, such that the total concentration of the three dyes ([dye 1] + [dye 2] + [dye 3]) was constant and served as an internal control to normalize for variation in illumination across the field of view or at different locations on the chip 8. The working total dye concentration for the 64-colour-code set was 1–5 µM, as described previously 8. The 1,050 colour codes were designed by (1) increasing the total working concentration of the 3 fluorescent dyes to 20 µM, such that 210 colour codes could be faithfully identified in 3-colour space (Extended Data Fig. 4a, b), and (2) adding a fourth fluorescent dye at one of 5 concentrations (0, 3, 7, 12 or 20 µM) to multiply the 210 codes by 5 (Extended Data Fig. 4a). In this design, each of the four dye intensities is normalized to the sum of the first three fluorescent dyes. Colour code construction
At the Opéra-Comique, after its 1883 revival, Carmen was always presented in the dialogue version with minimal musical embellishments. [73] By 1888, the year of the 50th anniversary of Bizet's birth, the opera had been performed there 330 times; [69] by 1938, his centenary year, the total of performances at the theatre had reached 2,271. [74] However, outside France the practice of using recitatives remained the norm for many years; the Carl Rosa Opera Company's 1947 London production, and Walter Felsenstein's 1949 staging at the Berlin Komische Oper, are among the first known instances in which the dialogue version was used other than in France. [73] [75] Neither of these innovations led to much change in practice; a similar experiment was tried at Covent Garden in 1953 but hurriedly withdrawn, and the first American production with spoken dialogue, in Colorado in 1953, met with a similar fate. [73]It begins with a lone flamenco dancer performing alone on a wooden board laid across the sand in the middle of a Mexican desert. Her staccato taps seem to spell out in Morse code the thoughts we hear about men and the trouble they bring. And then one arrives, bringing trouble. He asks, “Where is she?” The dancer ignores him, tapping ever faster. And then he shoots her. As an outbreak of COVID-19 emerged during the manuscript review process, we rapidly incorporated a new test 27 for the novel coronavirus SARS-CoV-2 into a coronavirus panel taken from the HV panel, demonstrating the power of this modular master set to be adapted to real-world challenges (Fig. 2d). Using a single mChip, more than 400 samples can be tested in parallel against our coronavirus panel. Cast details are as provided by Curtiss [16] from the original piano and vocal score. The stage designs are credited to Charles Ponchard. The opera is written in the genre of opéra comique with musical numbers separated by dialogue. It is set in southern Spain and tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery gypsy Carmen. José abandons his childhood sweetheart and deserts from his military duties, yet loses Carmen's love to the glamorous torero Escamillo, after which José kills her in a jealous rage. The depictions of proletarian life, immorality, and lawlessness, and the tragic death of the main character on stage, broke new ground in French opera and were highly controversial. McClary, Susan (1992). Georges Bizet: Carmen. Cambridge, UK: Cambridge University Press. ISBN 0-521-39897-5.
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