The controlled delivery of hydrogen sulfide for the preservation of heart tissue

Gemstone Team Organ Storage and Hibernation

Suppression of the Hepatitis C viral load by Phyllanthus niruri extracts

Gemstone Team ANTIDOTE

THE DIVERGENT PATHS OF OPERA IN THE CLASSICAL PERIOD AS SEEN THROUGH THE OPERATIC WORKS OF CHRISTOPH WILLIBALD GLUCK AND WOLFGANG AMADEUS MOZART

Although evidence of Gluck's influence on Mozart is sometimes discernible, by examining the two operas I have performed and a recital of arias by these two composers we can see clear contrasts in their approach to and expression of classical opera. The two operas discussed are Gluck's Armide and Mozart's Le Nozze di Figaro. Gluck and Mozart were both innovators but in very different ways. Gluck comes from a dramatic background (his principles have been compared to those of Wagner) and Mozart brings together dramatic excellence with the greatness of his musical genius, his gift of melody, and his ensemble writing, which is arguably unequaled in the repertory. A well-rounded performer strives to understand what the composer is really trying to say with his work, what the message to the audience is and what his particular way of conveying it is. The understanding of a composer's approach to drama and character interaction plays a huge role in character development. This applies no matter what role you are preparing whether it is baroque opera or late romantic. Discovering the ideals, style, and purpose of a composer contributes to an effective and rewarding performance experience, for those on stage, those in the pit, and those sitting in the seats.

BEYOND THE LIBRETTO: HOW THE COMPOSER GUIDES THE CREATION OF CHARACTER THREE CASE STUDIES

When performing in opera, a singer portrays a character. A libretto is used as the principal resource for the research. Music can also reveal insights into the composer’s ideas regarding characterization. This performance dissertation examines how musical devices such as genre, texture, meter, melody, instrumentation and form can be used to inform choices of characterization. Three roles from diverse operas were examined and performed. The first role, Estelle Oglethorpe in Later the Same Evening (2007) by John Musto (b 1954) was performed November 15, 16, 17, 18 2007. The second role, Dorabella in Così fan tutte (1789) by Wolfgang Amadeus Mozart (1756-1791) was performed April 20, 25, 27, 2008. The third role, Olga in Eugene Onegin (1878) by Pyotr Ilyich Tchaikovsky (1840-1893) was performed on April 19, 2009. All operas were presented by the University of Maryland Opera Studio at the Ina and Jack Kay Theater in the Clarice Smith Performing Arts Center, University of Maryland College Park. DVD recordings of all performances can be found in the University of Maryland library system.

Appropriateness of Largemouth Bass as a Model Species for Detection of Endocrine Dissruption

Intersex in largemouth bass (Micropterus salmoides) has been correlated with regional anthropogenic activity, but has not been causally linked to environmental factors. Four groups of hatchery-reared largemouth bass (LMB) and fathead minnows (FHM) of varying ages and sex were exposed to aqueous poultry litter mixtures, 17β- estradiol (E2), and controls. Water samples were analyzed for estrogens through liquid chromatography tandem mass spectrometry and estrogenicity through the bioluminescent yeast estrogen screen assay. Fish plasma was analyzed for the egg yolk protein vitellogenin (Vtg) using enzyme–linked immunosorbent assay and gonad tissue was examined histologically for enumeration of testicular oocytes (TO). Water chemistry revealed typical E2 conversion to Estrone with subsequent decay over the exposure periods. A modest prevalence of TO (9.4%) was detected with no apparent treatment effect. While significant Vtg induction was found in E2 exposed FHM, minimal Vtg induction was found in male LMB. Despite field findings of intersex in male LMB, this species may be poorly suited for laboratory investigations into endocrine disruption.