Tag Archives: Slovakia

Combine a nonwoven nanotextile and unique compounds to treat skin infections

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A September 30, 2021 news item on Nanowerk a new material for treating skin infections (Note: A link has been removed),

Researchers at the Institute of Organic Chemistry and Biochemistry of the CAS (IOCB Prague) and the Technical University of Liberec in collaboration with researchers from the Institute of Microbiology of the CAS, the Department of Burns Medicine of the Third Faculty of Medicine at Charles University (Czech Republic), and P. J. Šafárik University in Košice (Slovakia) have developed a novel antibacterial material combining nonwoven nanotextile and unique compounds with antibacterial properties (Scientific Reports, “Novel lipophosphonoxin-loaded polycaprolactone electrospun nanofiber dressing reduces Staphylococcus aureus induced wound infection in mice”).

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A September 30, 2021 Institute of Organic Chemistry and Biochemistry of the Czech Academy of Sciences (IOCB Prague) press release (also on EurekAlert), which originated the news item, describes the work in more detail,

Because the number of bacterial strains resistant to common antibiotics is steadily increasing, there is a growing need for new substances with antibacterial properties. A very promising class of substances are the so-called lipophosphonoxins (LPPO) developed by the team of Dominik Rejman of IOCB Prague in collaboration with Libor Krásný of the Institute of Microbiology of the CAS.

“Lipophosphonoxins hold considerable promise as a new generation of antibiotics. They don’t have to penetrate the bacteria but instead act on the surface, where they disrupt the bacterial cell membrane. That makes them very efficient at destroying bacteria,” says Rejman.

“A big advantage of LPPO is the limited ability of bacteria to develop resistance to them. In an experiment lasting several weeks, we failed to find a bacteria resistant to these substances, while resistance to well-known antibiotics developed relatively easily,” explains Krásný.

The potential of LPPO is especially evident in situations requiring immediate targeted intervention, such as skin infections. Here, however, the substances must be combined with a suitable material that ensures their topical efficacy without the need to enter the circulatory system. This reduces the burden to the body and facilitates use.

One such suitable material is a polymer nanofiber developed by the team of David Lukáš of the Faculty of Science, Humanities and Education at the Technical University of Liberec. The researchers combined it with LPPO to prepare a new type of dressing material for bacteria-infected skin wounds. The material’s main benefit is that the antibacterial LPPO are released from it gradually and in relation to the presence and extent of infection.

“The research and development of the material NANO-LPPO is a continuation of the work carried out in a clinical trial on the NANOTARDIS medical device, which we recently successfully completed in collaboration with Regional Hospital Liberec, University Hospital Královské Vinohrady, and Bulovka University Hospital. With its morphological and physical-chemical properties, the device promotes the healing of clean acute wounds,” says Lukáš. “This collaboration with colleagues from IOCB Prague is really advancing the possibilities for use of functionalized nanofiber materials in the areas of chronic and infected wounds.”

“Enzymes decompose the nanomaterial into harmless molecules. The LPPO are an integral component of the material and are primarily released from it during this decomposition. Moreover, the process is greatly accelerated by the presence of bacteria, which produce lytic enzymes. This means that the more bacteria there are in the wound, the faster the material decomposes, which in turn releases more of the active substances into the affected site to promote healing and regeneration of soft tissues,” says Rejman in describing the action of the material.  

“Our experiments on mice confirmed the ability of NANO-LPPO to prevent infection in the wound and thus accelerate healing and regeneration. There was practically no spread of infection where we used the material. If clinical trials go well, this could be a breakthrough in the treatment of burns and other serious injuries where infection poses an acute threat and complication to treatment,” explains wound care specialist Peter Gál of the Department of Burns Medicine at Charles University’s Third Faculty of Medicine, the Faculty of Medicine at P. J. Šafárik University in Košice, and the East Slovak Institute for Cardiovascular Diseases.  

In terms of applications, NANO-LPPO is an interesting material for manufacturers of medicinal products and medical devices. Its commercialization is being coordinated through a collaborative effort between IOCB TECH, a subsidiary of IOCB Prague, and Charles University Innovations Prague, a subsidiary of Charles University, both of which were created for the purpose of transferring results of academic research to practice. The companies are currently seeking a suitable commercial partner.

Here’s a link to and a citation for the paper,

Novel lipophosphonoxin-loaded polycaprolactone electrospun nanofiber dressing reduces Staphylococcus aureus induced wound infection in mice by Duy Dinh Do Pham, Věra Jenčová, Miriam Kaňuchová, Jan Bayram, Ivana Grossová, Hubert Šuca, Lukáš Urban, Kristýna Havlíčková, Vít Novotný, Petr Mikeš, Viktor Mojr, Nikifor Asatiani, Eva Kuželová Košťáková, Martina Maixnerová, Alena Vlková, Dragana Vítovská, Hana Šanderová, Alexandr Nemec, Libor Krásný, Robert Zajíček, David Lukáš, Dominik Rejman & Peter Gál. Scientific Reports volume 11, Article number: 17688 (2021) DOI: https://doi.org/10.1038/s41598-021-96980-7 Published: 03 September 2021

This paper is open access.

Science policy updates (INGSA in Canada and SCWIST)

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I had just posted my Aug. 30, 2021 piece (4th International Conference on Science Advice to Governments (INGSA2021) August 30 – September 2, 2021) when the organization issued a news release, which was partially embargoed. By the time this is published (after 8 am ET on Wednesday, Sept. 1, 2021), the embargo will have lifted and i can announce that Rémi Quirion, Chief Scientist of Québec (Canada), has been selected to replace Sir Peter Gluckman (New Zealand) as President of INGSA.

Here’s the whole August 30, 2021 International Network for Government Science Advice (INGSA) news release on EurekAlert, Note: This looks like a direct translation from a French language news release, which may account for some unusual word choices and turns of phrase,

What? 4th International Conference on Science Advice to Governments, INGSA2021.

Where? Palais des Congrès de Montréal, Québec, Canada and online at www.ingsa2021.org

When? 30 August – 2 September, 2021.

CONTEXT: The largest ever independent gathering of interest groups, thought-leaders, science advisors to governments and global institutions, researchers, academics, communicators and diplomats is taking place in Montreal and online. Organized by Prof Rémi Quirion, Chief Scientist of Québec, speakers from over 50 countries[1] from Brazil to Burkina Faso and from Ireland to Indonesia, plus over 2000 delegates from over 130 countries, will spotlight what is really at stake in the relationship between science and policy-making, both during crises and within our daily lives. From the air we breathe, the food we eat and the cars we drive, to the medical treatments or the vaccines we take, and the education we provide to children, this relationship, and the decisions it can influence, matter immensely.  

Prof Rémi Quirion, Conference Organizer, Chief Scientist of Québec and incoming President of INGSA added: “For those of us who believe wholeheartedly in evidence and the integrity of science, the past 18 months have been challenging. Information, correct and incorrect, can spread like a virus. The importance of open science and access to data to inform our UN sustainable development goals discussions or domestically as we strengthen the role of cities and municipalities, has never been more critical. I have no doubt that this transparent and honest platform led from Montréal will act as a carrier-wave for greater engagement”.

Chief Science Advisor of Canada and Conference co-organizer, Dr Mona Nemer, stated that: “Rapid scientific advances in managing the Covid pandemic have generated enormous public interest in evidence-based decision making. This attention comes with high expectations and an obligation to achieve results. Overcoming the current health crisis and future challenges will require global coordination in science advice, and INGSA is well positioned to carry out this important work. Canada and our international peers can benefit greatly from this collaboration.”

Sir Peter Gluckman, founding Chair of INGSA stated that: “This is a timely conference as we are at a turning point not just in the pandemic, but globally in our management of longer-term challenges that affect us all. INGSA has helped build and elevate open and ongoing public and policy dialogue about the role of robust evidence in sound policy making”.

He added that: “Issues that were considered marginal seven years ago when the network was created are today rightly seen as central to our social, environmental and economic wellbeing. The pandemic highlights the strengths and weaknesses of evidence-based policy-making at all levels of governance. Operating on all continents, INGSA demonstrates the value of a well-networked community of emerging and experienced practitioners and academics, from countries at all levels of development. Learning from each other, we can help bring scientific evidence more centrally into policy-making. INGSA has achieved much since its formation in 2014, but the energy shown in this meeting demonstrates our potential to do so much more”.

Held previously in Auckland 2014, Brussels 2016, Tokyo 2018 and delayed for one year due to Covid, the advantage of the new hybrid and virtual format is that organizers have been able to involve more speakers, broaden the thematic scope and offer the conference as free to view online, reaching thousands more people. Examining the complex interactions between scientists, public policy and diplomatic relations at local, national, regional and international levels, especially in times of crisis, the overarching INGSA2021 theme is: “Build back wiser: knowledge, policy & publics in dialogue”.

The first three days will scrutinize everything from concrete case-studies outlining successes and failures in our advisory systems to how digital technologies and AI are reshaping the profession itself. The final day targets how expertize and action in the cultural context of the French-speaking world is encouraging partnerships and contributing to economic and social development. A highlight of the conference is the 2 September announcement of a new ‘Francophonie Science Advisory Network’.       

Prof. Salim Abdool Karim, a member of the World Health Organization’s Science Council, and the face of South Africa’s Covid-19 science, speaking in the opening plenary outlined that: “As a past anti-apartheid activist now providing scientific advice to policy-makers, I have learnt that science and politics share common features. Both operate at the boundaries of knowledge and uncertainty, but approach problems differently. We scientists constantly question and challenge our assumptions, constantly searching for empiric evidence to determine the best options. In contrast, politicians are most often guided by the needs or demands of voters and constituencies, and by ideology”.

He added: “What is changing is that grass-roots citizens worldwide are no longer ill-informed and passive bystanders. And they are rightfully demanding greater transparency and accountability. This has brought the complex contradictions between evidence and ideology into the public eye. Covid-19 is not just a disease, its social fabric exemplifies humanity’s interdependence in slowing global spread and preventing new viral mutations through global vaccine equity. This starkly highlights the fault-lines between the rich and poor countries, especially the maldistribution of life-saving public health goods like vaccines. I will explore some of the key lessons from Covid-19 to guide a better response to the next pandemic”.

Speaking on a panel analysing different advisory models, Prof. Mark Ferguson, Chair of the European Innovation Council’s Advisory Board and Chief Science Advisor to the Government of Ireland, sounded a note of optimism and caution in stating that: “Around the world, many scientists have become public celebrities as citizens engage with science like never before. Every country has a new, much followed advisory body. With that comes tremendous opportunities to advance the status of science and the funding of scientific research. On the flipside, my view is that we must also be mindful of the threat of science and scientists being viewed as a political force”.

Strength in numbers

What makes the 4th edition of this biennial event stand out is the perhaps never-before assembled range of speakers from all continents working at the boundary between science, society and policy willing to make their voices heard. In a truly ‘Olympics’ approach to getting all stakeholders on-board, organisers succeeded in involving, amongst others, the UN Office for Disaster Risk Reduction, the United Nations Development Programme, UNESCO and the OECD. The in-house science services of the European Commission and Parliament, plus many country-specific science advisors also feature prominently.

As organisers foster informed debate, we get a rare glimpse inside the science advisory worlds of the Comprehensive Nuclear Test Ban Treaty Organisation, the World Economic Forum and the Global Young Academy to name a few. From Canadian doctors, educators and entrepreneurs and charitable foundations like the Welcome Trust, to Science Europe and media organisations, the programme is rich in its diversity. The International Organisation of the Francophonie and a keynote address by H.E. Laurent Fabius, President of the Constitutional Council of the French Republic are just examples of two major draws on the final day dedicated to spotlighting advisory groups working through French. 

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INGSA’s Elections: New Canadian President and Three Vice Presidents from Chile, Ethiopia, UK

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The International Network for Government Science Advice has recently undertaken a series of internal reforms intended to better equip it to respond to the growing demands for support from its international partners, while realising the project proposals and ideas of its members.

Part of these reforms included the election in June, 2021 of a new President replacing Sir Peter Gluckman (2014 – 2021) and the creation of three new Vice President roles.

These results will be announced at 13h15 on Wednesday, 1st September during a special conference plenary and awards ceremony. While noting the election results below, media are asked to respect this embargo.

Professor Rémi Quirion, Chief Scientist of Québec (Canada), replaces Sir Peter Gluckman (New Zealand) as President of INGSA.
 

Professor Claire Craig (United Kingdom), CBE, Provost of Queen’s College Oxford and a member of the UK government’s AI Council, has been elected by members as the inaugural Vice President for Evidence.
 

Professor Binyam Sisay Mendisu (Egypt), PhD, Lecture at the University of Addis Ababa and Programme Advisor, UNESCO Institute for Building Capacity in Africa, has been elected by members as the inaugural Vice President for Capacity Building.
 

Professor Soledad Quiroz Valenzuela (Chile), Science Advisor on Climate Change to the Ministry of Science, Technology, Knowledge and Innovation of the government of Chile, has been elected by members as the Vice President for Policy.

Satellite Events: From 7 – 9 September, as part of INGSA2021, the conference is partnering with local,  national and international organisations to ignite further conversations about the science/policy/society interface. Six satellite events are planned to cover everything from climate science advice and energy policy, open science and publishing during a crisis, to the politicisation of science and pre-school scientific education. International delegates are equally encouraged to join in online. 

About INGSA: Founded in 2014 with regional chapters in Africa, Asia and Latin America and the Caribbean, INGSA has quicky established an important reputation as aa collaborative platform for policy exchange, capacity building and research across diverse global science advisory organisations and national systems. Currently, over 5000 individuals and institutions are listed as members. Science communicators and members of the media are warmly welcomed to join.

As the body of work detailed on its website shows (www.ingsa.org) through workshops, conferences and a growing catalogue of tools and guidance, the network aims to enhance the global science-policy interface to improve the potential for evidence-informed policy formation at sub-national, national and transnational levels. INGSA operates as an affiliated body of the International Science Council which acts as trustee of INGSA funds and hosts its governance committee. INGSA’s secretariat is based in Koi Tū: The Centre for Informed Futures at the University of Auckland in New Zealand.

Conference Programme: 4th International Conference on Science Advice to Government (ingsa2021.org)

Newly released compendium of Speaker Viewpoints: Download Essays From The Cutting Edge Of Science Advice – Viewpoints

[1] Argentina, Australia, Austria, Barbados, Belgium, Benin, Brazil, Burkina Faso, Cameroon, Canada, Chad, Colombia, Costa Rica, Côte D’Ivoire, Denmark, Estonia, Finland, France, Germany, Hong Kong, Indonesia, Ireland, Japan, Lebanon, Luxembourg, Malaysia, Mexico, Morocco, Netherlands, New Zealand, Pakistan, Papua New Guinea, Rwanda, Senegal, Singapore, Slovakia, South Africa, Spain, Sri Lanka, Sweden, Switzerland, Thailand, UK, USA. 

Society for Canadian Women in Science and Technology (SCWIST)

As noted earlier this year in my January 28, 2021 posting, it’s SCWIST’s 40th anniversary and the organization is celebrating with a number of initiatives, here are some of the latest including as talk on science policy (from the August 2021 newsletter received via email),

SCWIST “STEM Forward Project”
Receives Federal Funding
SCWIST’s “STEM Forward for Economic Prosperity” project proposal was among 237 projects across the country to receive funding from the $100 million Feminist Response Recovery Fund of the Government of Canada through the Women and Gender Equality Canada (WAGE) federal department.

Read more. 

iWIST and SCWIST Ink Affiliate MOU [memorandum of understanding]

Years in planning, the Island Women in Science and Technology (iWIST) of Victoria, British Columbia and SCWIST finally signed an Affiliate MOU (memorandum of understanding) on Aug 11, 2021.

The MOU strengthens our commitment to collaborate on advocacy (e.g. grants, policy and program changes at the Provincial and Federal level), events (networking, workshops, conferences), cross promotion ( event/ program promotion via digital media), and membership growth (discounts for iWIST members to join SCWIST and vice versa).

Dr. Khristine Carino, SCWIST President, travelled to Victoria to sign the MOU in person. She was invited as an honoured guest to the iWIST annual summer picnic by Claire Skillen, iWIST President. Khristine’s travel expenses were paid from her own personal funds.

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Discovery Foundation x SBN x SCWIST Business Mentorship Program: Enhancing Diversity in today’s Biotechnology Landscape

The Discovery Foundation, Student Biotechnology Network, and Society for Canadian Women in Science and Technology are proud to bring you the first-ever “Business Mentorship Program: Enhancing Diversity in today’s Biotechnology Landscape”. 

The Business Mentorship Program aims to support historically underrepresented communities (BIPOC, Women, LGBTQIAS+ and more) in navigating the growth of the biotechnology industry. The program aims to foster relationships between individuals and professionals through networking and mentorship, providing education and training through workshops and seminars, and providing 1:1 consultation with industry leaders. Participants will be paired with mentors throughout the week and have the opportunity to deliver a pitch for the chance to win prizes at the annual Building Biotechnology Expo. 

This is a one week intensive program running from September 27th – October 1st, 2021 and is limited to 10 participants. Please apply early. 

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Events

September 10

Art of Science and Policy-Making Go Together

Science and policy-making go together. Acuitas’ [emphasis mine] Molly Sung shares her journey and how more scientists need to engage in this important area.

September 23

Au-delà de l’apparence :

des femmes de courage et de résilience en STIM

Dans le cadre de la semaine de l’égalité des sexes au Canada, ce forum de la division québécoise de la Société pour les femmes canadiennes en science et technologie (la SCWIST) mettra en vedette quatre panélistes inspirantes avec des parcours variés qui étudient ou travaillent en science, technologie, ingénierie et mathématiques (STIM) au Québec. Ces femmes immigrantes ont laissé leurs proches et leurs pays d’origine pour venir au Québec et contribuer activement à la recherche scientifique québécoise. 

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The ‘Art and Science Policy-Making Go Together’ talk seems to be aimed at persuasion and is not likely to offer any insider information as to how the BC life sciences effort is progressing. For a somewhat less rosy view of science and policy efforts, you can check out my August 23, 2021 posting, Who’s running the life science companies’ public relations campaign in British Columbia (Vancouver, Canada)?; scroll down to ‘The BC biotech gorillas’ subhead for more about Acuitas and some of the other life sciences companies in British Columbia (BC).

For some insight into how competitive the scene is here in BC, you can see my August 20, 2021 posting (Getting erased from the mRNA/COVID-19 story) about Ian MacLachlan.

You can check out more at the SCWIST website and I’m not sure when the August issue will be placed there but they do have a Newsletter Archive.

[The Picture of] Dorian Gray opera premiered as part of World New Music Days festival held in Slovakia & Austria: *Kate Pullinger interview

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I’m delighted to be publishing an interview with Kate Pullinger a well known Canadian-born writer, resident for many years in the UK, about her opera project. (For her sins, she supervised my De Montfort University’s [UK] master’s project. There were times when I wasn’t sure either of us was going to survive largely [but not solely] due to my computer’s meltdown at the worst possible moment.)

Here’s a bit more about Kate from the About page on her eponymous website,

Kate Pullinger writes for both print and digital platforms.  In 2009 her novel The Mistress of Nothing won the Governor General’s Literary Award for Fiction, one of Canada’s most prestigious literary prizes.  Her prize-winning digital fiction projects Inanimate Alice and Flight Paths: A Networked Novel have reached audiences around the world.

Kate Pullinger gives talks and readings frequently (look at the Events page for future events); she also offers private 1-1 mentoring for emerging writers in both print and new media.  She is Professor of Creative Writing and New Media at Bath Spa University.

As well as The Mistress of Nothing, Kate Pullinger’s books include A Little Stranger,  Weird Sister, The Last Time I Saw Jane, Where Does Kissing End?, and When the Monster Dies, as well as the short story collections, My Life as a Girl in a Men’s Prison and Tiny Lies.  She co-wrote the novel of the film The Piano with director Jane Campion. In 2011, A Curious Dream: Collected Works, a selection of Pullinger’s short stories, was published in Canada.

Kate Pullinger is currently working on a new novel and an associated digital fiction that build on themes developed in her collaborative digital fiction project, Flight Paths:  A Networked Novel.

Other current projects include a libretto based on Oscar Wilde’s The Picture of Dorian Grey, commissioned by the Slovak National Theatre in collaboration with the composer Lubica Cekovska.  This work will be premiered in Bratislava in 2013.  Recent projects include working with digital artist James Coupe on Surveillance Suite, a project that generates stories using facial recognition software.

Kate Pullinger was born in Cranbrook, British Columbia, and went to high school on Vancouver Island. She dropped out of McGill University, Montreal, after a year and a half of not studying philosophy and literature, then spent a year working in a copper mine in the Yukon, northern Canada, where she crushed rocks and saved money. She spent that money travelling and ended up in London, England, where she has been ever since.  She is married and has two children.

You can read more about Kate and her academic work here on her faculty page on the Bath Spa University website.

As for Kate’s work as a librettist on the opera, Dorian Gray, based on the Oscar Wilde novel, The Picture of Dorian Gray, she worked with composer, Ľubica Čekovská for the opera, which was debuted on Nov. 8, 2013 in Bratislava, Slovakia as part of the World New Music Days festival, founded in 1922 and *held in Slovakia and Austria in 2013..

Here’s Kate’s interview:

  •  I am assuming you went to the premiere? How was it? And, if you didn’t attend, what do you imagine (or what were you told) happened?

I saw the last two full rehearsals, and then the first two performances.  There are two casts in the Slovakian production – two of all the main roles – I’m not entirely sure why! It was so much fun, to hear the orchestra, and to see the production, and to hear the singers sing our work. Lubica had played me the opera many times using Sibelius, the software composers use, but that sounds like tinny computer music, so it was so pleasurable to hear her score played. And her score is really a wonderful work, very dense, clever, amusing, and tuneful.

  • Can you tell me a little bit about the story and which elements you chose to emphasize and which elements you chose to de-emphasize or eliminate altogether? How does your Dorian Gray differ from the other Dorian Gray opera by American composer Lowell Liebermann,?

I guess the main difference between my adaptation and most others is that I decided to make Dorian and his journey to hell central to the work and to not focus on his relationship with Lord Henry. Adaptations of the novel often make it a kind of two-hander between Dorian and Lord Henry, but we felt that there wasn’t room for that in what we were doing.

I don’t know the Liebermann adaptation at all.

  •  I looked up definitions for librettist and it seems the word means whatever the librettist and the composer decide. Could you describe your role as librettist for this opera?

I structured the story by creating three acts and the scenes therein, and then wrote the text for the singers. Lubica and I had a lot of discussion before I created the structure, and then on-going discussions as I worked on the libretto and she embarked on the score. I finished the libretto, but then continued to make changes as Lubica found issues with it, or we had new ideas. It was a lot of fun and we would like to work together again.

  • How did you two end up collaborating with each other? And what was the process like? e.g. It took about four years to bring this opera to life, yes? So, did the process change as the years moved on and as you got closer to the premiere? Did you learn any Slovak (language)?

The writing process, in total, took about 2.5 years really, the bulk of that Lubica’s time, as creating and scoring an entire opera for a full orchestra is an enormous task. After that, there is a lengthy publishing process, and then the production time. So for the last 1.5 years I did very little except wait for the occasional update.  Lubica was much more involved with the opera house in finding the director, conductor, and casting – and then once rehearsals started she was very involved in that process. Both the director, Nicola Raab, and the conductor, Christopher Ward, said how unusual it was to work with a living composer and librettist!

  • Did anything surprise you as you worked with the story or with the composer (Ľubica Čekovská)?

I learned a lot and there were many surprises.

At this point I’m interrupting the interview to excerpt part of a review in the New York Times, which I ask about in a question that follows the excerpt from A Music Festival Features Premiere of the Opera ‘Dorian Gray’ By GEORGE LOOMIS Published: November 13, 2013 in the New York Times,

The World New Music Days festival was first held in Salzburg in 1922 — around the time Arnold Schoenberg was perfecting his 12-note compositional system — and it remains a robust champion of new music. This year the 11-day program, sponsored by the International Society of Contemporary Music, was spread over three cities — Kosice and Bratislava in Slovakia, and Vienna — and included some 25 concerts, which were supplemented by many others thanks to partnerships with local organizations. A new opera was among the many works to receive their world premieres.

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But the opera, as seen in Nicola Raab’s generally persuasive staging with sets by Anne Marie Legenstein and Alix Burgstaller that decadently depict Victorian drawing rooms, is marred by the decision to have the picture consist simply of an empty frame, an idea that perhaps seemed bold in concept but misfires in execution. [emphasis mine] Ms. Cekovska interestingly conveys the picture’s disfiguration musically through wordless boy-soprano melodies that recur increasingly distorted. [emphasis mine] But the melodies, to say nothing of the drama itself, need a visual analogue.

Now back to the interview,

  •  The one reviewer I’ve read, from the NY Times, expressed some disappointment with the choice to have an empty picture frame represent the ‘picture of Dorian Gray’ around which the entire story revolves. What was the thinking behind the decision and is there a chance that future productions (my understanding is that one isn’t permitted to make any substantive changes to a production once it has started its run) will feature a picture?

Well, that’s one critic’s opinion, and not one we agree with. Very early on in the process Lubica had the idea, which I think is genius, of representing the picture chorally – in early drafts there was a chorus on stage, and then this shifted to an electronic recorded chorus, where the music becomes gradually more and more distorted as the picture changes. With adaptations of Dorian Gray there is always a huge problem with how to represent the picture, which is so vivid and clear in our mind’s eye when we read Wilde’s original. Having an oil painting that gets older often just looks cheesy – it doesn’t look how you think it should look. So the empty picture frame, and the disintegrating chorus, in my opinion, is wonderful.

  • Given that I write mostly about science and technology, are there any opera technology tidbits about this production that you can offer?

Ha!  It was one of the most analogue experiences of my entire life!

  • How was your recent trip to China? Was it related to the opera project or an entirely new one and what might that be?

I went to China as part of a UK university exchange programme, looking at setting up collaborations with Chinese universities. It was a very interesting trip, though somewhat dominated by the appalling air quality in all three of the cities we visited.

  • Is there anything you’d like to add? (e.g. plans to bring the opera to Vancouver, Canada)

Opera productions don’t travel, so any future productions will have to be new productions, if you see what I mean – or co-productions. This is what the opera house hopes will happen. Ľubica Čekovská is a young composer with a steadily rising reputation, so I wouldn’t be at all surprised if there are future productions of it. I think it is a wonderful piece of work, but I’m biased.

Thank you, Kate for your time and for illuminating a topic of some interest to me. I’ve wondered about opera and librettists especially since many well known writers like you and Margaret Atwood are now working in this media. (Margaret Atwood is librettist for the opera ‘Pauline’ [about poet Pauline Johnson] which will have its world première on May 23, 2014 in Vancouver, Canada.)

For the curious, there’s another interview with Kate (she discusses the then upcoming opera and other work)  written up by Jeremy Hight in a Feb. 2011 article for the Leonardo Almanac and Ľubica Čekovská’s website is here. One final note, World New Music Days festival will be held in Vancouver, Canada in 2017, according to New York Times writer, George Loomis.

* I posted a little sooner that I should have. As of 10:30 am PST, I have added Kate Pullinger’s name to the heading, and added Austria and Slovakia as the sites for the 2013 World New Music Days festival.

ETA Dec. 18, 2013 at 3:30 pm PST: The opera, Dorian Gray, will be performed again in Bratislava at the National Slovak Theatre on 20 February, 5 April and 5 June 2014. More here.