a b "Prosper Mérimée's Novella, Carmen". Columbia University. 2003. Archived from the original on 19 October 2012 . Retrieved 11 March 2012.

Bartlet, Elizabeth C. "Opéra comique". Oxford Music Online . Retrieved 29 March 2012. (subscription or UK public library membership required) 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] Capitalizing on the specificity of Cas13 detection, we used CARMEN–Cas13 to discriminate all epidemiologically relevant serotypes of influenza A in parallel. Diversity within a viral species such as influenza A poses a substantial challenge to detection; an assay must correctly identify many distinct sequences within a group of strains, while remaining selective for that group. To discriminate the haemagglutinin (H) and neuraminidase (N) subtypes H1–H16 and N1–N9 of influenza A virus, we designed H and N amplicons that were sufficiently conserved to amplify with two parallel primer sets and used ADAPT to design specific sets of crRNAs to identify subtypes (Fig. 3a, see Methods for details). We tested the optimal crRNA from each set using synthetic consensus sequences from H1–H16 and N1–N9, and successfully identified these subtypes (Fig. 3b, c). We further tested our N-subtyping assay using synthetic sequences that collectively cover more than 90% of the sequence diversity within subtypes N1–N9, and identified 32 out of 35 (91.4%) of these sequences (Extended Data Fig. 8c). Finally, we validated our subtyping assay using 20 throat and nasal swabs from humans infected during the 2018–2019 flu season and were able to successfully subtype all of these infections, showing 100% concordance with results of reverse transcription with quantitative PCR performed by the Centers for Disease Control and Prevention and NGS performed in our laboratory (Fig. 3d, Methods, ‘Cas13-detection reactions’ under ‘General procedures’). On the basis of these results, our assay could potentially identify each of the 144 possible combinations of H1–H16 and N1–N9 subtypes.Please note large appliances will not be collected or delivered by Kettle and Toaster Man under any circumstances and buyer assumes all responsibility.

Heat maps were generated from the median fluorescence value of each crRNA–target pair. The performance of each guide was assessed by calculating a receiver operating characteristic (ROC) curve for the fluorescence distributions from on-target and all off-target droplets and determining the AUC. SNP index calculation

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Shortly before his death Bizet signed a contract for a production of Carmen by the Vienna Court Opera. For this version, first staged on 23 October 1875, Bizet's friend Ernest Guiraud replaced the original dialogue with recitatives, to create a " grand opera" format. Guiraud also reorchestrated music from Bizet's L'Arlésienne suite to provide a spectacular ballet for Carmen 's second act. [60] Shortly before the initial Vienna performance, the Court Opera's director Franz von Jauner decided to use parts of the original dialogue along with some of Guiraud's recitatives; this hybrid and the full recitative version became the norms for productions of the opera outside France for most of the next century. [61] Many distinguished artistes sang the role of Carmen in early productions of the opera. Forbes, Elizabeth. "Bouhy, Jacques(-Joseph-André)". Oxford Music Online . Retrieved 1 March 2012. (subscription or UK public library membership required)

For viral genome assembly, reads were demultiplexed and analysed using viral-ngs, which can be accessed at https://github.com/broadinstitute/viral-ngs/releases/tag/v1.25.0 ( https://zenodo.org/record/3509008). HIV genome assemblies were scaffolded against GenBank accession AF063224.1, which was also used as the reference for aligning all HIV reads for those samples with or without full genome assemblies. Thirteen HIV samples had the sufficiently high read depth (≥2 unique reads) to make consensus base calls at one or more of the regions targeted by the SNP assays. Consensus base calls in these regions were used to confirm the presence or absence of the SNP and determine the number of mismatches between each sample’s consensus HIV sequence and the crRNA. Each crRNA was aligned to each sample’s consensus sequence, and the number of mismatches was calculated excluding the synthetic mismatch, SNP-induced mismatch, or any mismatches that were G–U wobble base pairs from the total number. The ‘align_and_plot_coverage’ function in viral-ngs (wrapping BWA-MEM 32, with options ‘--excludeDuplicates --minScoreToFilter 60’) was used to align human-depleted reads to AF063224.1; mean depth across each SNP amplicon for each sample was calculated, excluding zero values, and then was normalized to total raw reads per million of the sample. Zika detection Nucleic acid amplification Dennis E. Trout, Paulinus of Nola. Life, Letters, and Poems, Berkeley, Los Angeles and London: University of California Press, 1999: 68. Forbes, Elizabeth. "Lhérie [Lévy], Paul". Oxford Music Online . Retrieved 1 March 2012. (subscription or UK public library membership required)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 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.

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Dean has commented on the dramatic distortions that arise from the suppression of the dialogue; the effect, he says, is that the action moves forward "in a series of jerks, rather instead of by smooth transition", and that most of the minor characters are substantially diminished. [73] [76] Only late in the 20th century did dialogue versions become common in opera houses outside France, but there is still no universally recognised full score. Fritz Oeser's 1964 edition is an attempt to fill this gap, but in Dean's view is unsatisfactory. Oeser reintroduces material removed by Bizet during the first rehearsals, and ignores many of the late changes and improvements that the composer made immediately before the first performance; [25] he thus, according to Susan McClary, "inadvertently preserves as definitive an early draft of the opera". [29] In the early 21st century new editions were prepared by Robert Didion and Richard Langham-Smith, published by Schott and Peters respectively. [77] Each departs significantly from Bizet's vocal score of March 1875, published during his lifetime after he had personally corrected the proofs; Dean believes this vocal score should be the basis of any standard edition. [25] Lesley Wright, a contemporary Bizet scholar, remarks that, unlike his compatriots Rameau and Debussy, Bizet has not been accorded a critical edition of his principal works; [78] should this transpire, she says, "we might expect yet another scholar to attempt to refine the details of this vibrant score which has so fascinated the public and performers for more than a century." [77] Meanwhile, Carmen 's popularity endures; according to Macdonald: "The memorability of Bizet's tunes will keep the music of Carmen alive in perpetuity," and its status as a popular classic is unchallenged by any other French opera. [13] [n 5] Music [ edit ] In the analysis of version one performance, it was discovered that crRNA 136 had inadvertently been designed against target 128. Both crRNA 128 and crRNA 136 selectively react with target 128, and were thus counted as selective crRNAs. To computationally analyse the expected version one design performance, spacer target sequences and primers were aligned using bwa 0.7.17-r1188 32 against the majority consensus sequences of each of the 169 viral genomes. Alignments with insertions or deletions were not permitted. Primers and crRNAs activity were scored using the alignments output by bwa. The score for both primers and crRNAs was the number of matching bases between the crRNA and target sequence, except for crRNA activity the score also counted crRNA-target pairs of A-G and C-T to include G-U pairing. Score cut-offs were 17 for primers and 27 for crRNAs. This yielded a 169 × 169 predicted reactivity matrix for the primers, and another matrix for the crRNAs. This matrix was summed to calculate the expected number of targets that each primer or crRNA would react with. A score of 0 was categorized as low activity, a score of 1 as perfect activity, and a score >1 as cross-reactivity. Version two redesign Carmen: The First Complete Recording". Marston Records. Archived from the original on 15 February 2013 . Retrieved 22 May 2016.