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Published in final edited form as: Small Methods. 2018 Feb 7;2(3):1700318. doi: 10.1002/smtd.201700318

Abstract

The recapitulation of human anatomy and physiology is critical for organ regeneration. Due to this fundamental requirement, bioprinting holds great promise in tissue engineering and regenerative medicine due to the possibility of fabricating complex scaffolds that host cells and biochemical cues in a physiologically relevant fashion. The ever-growing research in this field has been proceeding along two different, yet complementary, routes: on the one hand, the development of bioprinting to fabricate large tissue surrogates for transplantation purposes in vivo (macrobioprinting), and on the other the spread of bioprinting-based miniaturized systems to model the tissue microenvironment in vitro (microbioprinting). The latest advances in both macro- and microbioprinting are reviewed, emphasizing their impact on specific areas of tissue engineering. Additionally, a critical comparison of macro- versus microbioprinting is presented together with advantages and limitations of each approach. Ultimately, findings obtained both at the macro-and microscale are expected to provide a deeper insight in tissue biology and offer clinically relevant solutions for organ regeneration.

Keywords: bioprinting, complex tissues, organ-on-a-chip, regenerative medicine, tissue engineering

1. Introduction

Tissue engineering (TE) and regenerative medicine have made remarkable progress in the last decades toward the creation of functional tissues and organ surrogates. Among the technological breakthroughs behind these advances, 3D bioprinting holds great promise in the fabrication of physiologically relevant scaffolds that capture the complex anatomy and physiology of native tissues, overcoming the limitations of conventional fabrication techniques for scaffolds.

The classic definition of bioprinting refers to t

Soprano Ekaterina Bakanova is a Russian born opera and oratorio singer. Italian by adoption, she famously made her Royal Opera House debut in “La Traviata,” with just a few hours notice, after Sonya Yoncheva became ill in 2015. She has since performed in many of the renowned opera houses in the world. She is the winner of numerous important international and national competitions, awards and recognitions.

In this interview, OperaWire takes the opportunity to catch up with Bakanova at her home in Italy’s Venetian region.

OperaWire:
I Know you’re currently working hard on preparing for “Manon.” Manon is a complex character, rich in nuances. How did you prepare to delve into her psychology and bring such a controversial and fascinating figure to life?

Ekaterina Bakanova:
Since this production is inspired by the character of Brigitte Bardot, I started by watching her films, particularly La Vérité by Henri-Georges Clouzot, which the director Arnault used as a reference for shaping Manon’s personality. He drew inspiration directly from the character portrayed by Bardot. So, I did extensive research on her, and director Bernard Arnault shared many insights about Bardot’s personality. He told me about her strong and rebellious nature, how she is a fighter, which makes her similar to Manon.

OW:
What were the vocal challenges you encountered when portraying Manon, and how did you approach them?

EB:
First of all, the vocal tessitura. The role of Manon requires different registers within one vocal line. The singer has to manage a long and demanding role, where various vocal nuances are needed. It ranges from a lighter tessitura in the first aria, which is already quite narrative, to the second act, which becomes more lyrical and dramatic, introducing the first dramatic notes. The third act sits more centrally, while the fourth and fifth acts require a lower register. This escalation of tessitur

Giacomo Puccini’s 1896 creation La bohèmeis one of the most frequently performed operas in the world today. Set in 1830s Paris, it focuses on six young adults and the love that four of them find with each other amidst the most impoverished of circumstances. One couple (Marcello and Musetta) have a stormy relationship but their frequent battles prove that their love actually has staying power. Rodolfo and Mimì, on the other hand, enjoy an apparently perfect love, but it is only fleeting as poverty offers no relief to Mimì and she dies of consumption.

This is the first revival (by Julia Burbach) of Richard Jones’ 2017 version for the Royal Opera, which represents a co-production with the Teatro Real, Madrid and Lyric Opera of Chicago. Much excitement surrounded its premiere last September, especially since the production it replaced by John Copley was one of the Royal Opera’s all-time greats, lasting from 1974 through to 2015. In the event, Jones’ offering proved to be thoroughly decent, with a lot of attention to detail revealed in both the sets and protagonists’ gestures.

For example, Act I takes place in Rodolfo and Marcello’s flat, which in Stewart Laing’s set is presented as an attic area with a series of diagonals that really draw the eye in. It is designed to suggest that the flat (and world) extends beyond the front of the stage, while the direction is thoughtful with much attention being paid to where figures are placed. In comparison with the previous outing, the performances here possess a slighty freer quality. This may be because the presumably reduced rehearsal time for this first revival would not have permitted the same degree of micromanagement over people’s movements as was achieved last September.

However, with the flat only taking up a fraction of the stage area, there is a thin dividing line between a production fee