But there are other, gassier, reasons why you should probably stick to just a few pieces a day — and spit them out.
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While it seems cruel that some of your favorite foods result in bubbling gas pains, there's a logical reason why some foods make you gassier than others.
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But your digestive organs also pick up on the drop in progesterone you experience during your period, which causes you to feel gassier and have to poop more.
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That alone should convince us to stop, but if you needed more evidence, here's another dirty secret: antibiotics could be making cows gassier and boosting their contribution to global warming.
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The airport (whose chairman, Paul Deighton, is also on the board of The Economist Group) has been slashing its own emissions, for instance by charging gassier planes more to land.
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And sometimes, these hormone-like chemicals can also affect your digestive organs nearby, making you gassier and have to go more often than you do on your non-bleeding days.
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Right now North America has two carbon markets, exchanges where members who emit less than a certain amount of greenhouse gases essentially earn tokens they can sell to gassier emitters.
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The slowdown in oil drilling should also, eventually, help curb production of associated gas, contributing to market rebalancing, though the effect could be delayed because wells tend to become gassier as they age.
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215.), as well as Nicolai's Il Templario (in which he sang the role of Brian the Templar). Returning to London in March 1866, Santley appeared in the spring season with Tietjens, Gardoni and Gassier in Iphigénie en Tauride. He also sang in Dinorah (with de Murska and Gardoni) and Ernani (with Tietjens, Tasca and Gassier). During the autumn, he performed as Leporello in Don Giovanni at Her Majesty's.
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Born in Saint-Maximin-la- Sainte-Baume (Var department), Gassier married the Spanish singer .Vera Brodsky Lawrence, Strong on Music: The New York Music Scene in the Days of George Templeton Strong, volume 3: Repercussions, 1857-1862, University of Chicago Press, 1999, . He was hired with his wife in 1855 at Drury Lane in London, where they performed in La sonnambula and Il trovatore.Le Ménestrel, 15 April 1855, Gassier died in Havana on 18 December 1871.
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The picture probably depicts Leocadia Weiss (née Zorrilla,Junquera (2008), p. 13 1788–1856)Stevenson (2009), p. 243 the artist's maid, younger by 35 years, and distant relative,Gassier (1955), p. 103 though this identity has been contested.
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Mazo's painting of The Family of the Artist also shows a composition similar to that of Las Meninas. Francisco Goya etched a print of Las Meninas in 1778,Gassier, Pierre (1995). Goya: Biographical and Critical Study. New York: Skira, p. 24\.
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Later that year she toured in Manchester with Santley in Don Giovanni, and in October in London they appeared together in Weber's Der Freischütz. In 1866, she assisted at the unsuccessful return of Giulia Grisi in Norma and Don Giovanni: her own appearances were however very successful, not least as Iphigenie in Gluck's Iphigénie en Tauride, with Gardoni (Pilade), Santley (Oreste) and Gassier (Thoas). Two private performances were given for the Earl of Dudley, supported by Sims Reeves, the baritone Giovanni Battista Belletti, and Santley. The same season saw her Elvira in an Ernani revival with Tasca, Gassier and Santley, and an Il Seraglio with Mme Sinico, and Messrs Gunz, a new tenor Rokitanski, and the Irish bass Signor Foli.
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Santley 1892, 197-199. However the highlight of that season was the first London Faust, launched 11 June at Her Majesty's, in which he took the title role: the opera was thereafter produced at Covent Garden in every year until 1911. The premiere was with Tietjens (Margherita), Trebelli (Siebel), Edouard Gassier (Mephistopheles) and Charles Santley (Valentin), Arditi conducting.
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He did not participate in debates, but was a member of various committees. Allemand was a friend of Joseph Reinach and a supporter of Alfred Dreyfus. In the 1903 elections for the triennial renewal of the Senate he won only 58 votes against 211 for Louis Andrieux, who was elected. Andrieux's election was invalidated, and he was replaced by Hippolyte Gassier.
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It was given in a problematic English translation by Henry Fothergill Chorley, which nevertheless remained the standard translation until well into the 20th century. Santley appeared as Valentine. The other cast members were Tietjens (as Marguerite), Trebelli (Siebel), Antonio Giuglini (Faust) and Edouard Gassier (Mephisto). In July 1863 the company performed Weber's Oberon with Reeves, Tietjens, Alboni and Alessandro Bettini.
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In 1246, following the death of Raymond IV Berenger, Provence passed through his younger daughter to Charles d'Anjou, brother of Louis IX of France and sometime king of Sicily. The tenuous Anjou presence at Saint-Maximin was fiercely contested by the seigneurs of Baux among other local leaders. The French baritone Louis Gassier (1820–1871) was born in Saint-Maximin-la-Sainte-Baume.
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Otto Nicolai's 1849 opera The Merry Wives of Windsor had its English premiere in May 1864 with Tietjens and Caroline Bettelheim as the wives, Gassier (Page) and Santley the husbands, Junca (who also replaced Gassier in Faust) as Falstaff, Giuglini as Fenton, Giuseppina Vitali (Anne), Manfredi (Slender) and Mazzetti (Dr Caius). Santley describes the fun he and Tietjens had in the scene turning out the linen basket and pelting each other with linen. Tietjens, Santley, Giuglini, Mayerhofer and Pauline Lucca gave a Buckingham Palace concert before Queen Victoria in May 1864: Tietjens was then singing Gluck (Armide), Bellini (I puritani), Rossini and Meyerbeer (Robert le diable). On 5 July 1864 Titiens created Mireille (opposite Giuglini's Vincent) in the first production in England of Gounod's opera, which in its original five-act form had been premiered in Paris in March.
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In addition to Étienne Cornellier, his friends were painters Gustave Marius Jullien (1825-1881), Antoine Vollon, Robert Mols, Raymond Allègre and Théophile Décanis. He was supported by several patrons, among them General Malesherbes and Marie-Louis Gassier, the owner of company Berger, a producer of pastis. In 1948, twelve years after his death, Marseille's Musée Cantini dedicated an exhibition to his centenary, displaying eighty-two of his paintings.
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His 1865 Faust was with Thérèse Tietjens, Zélia Trebelli, Junca and Santley.Mapleson 1888, I, 146. In the 1866 season at Her Majesty's, he sang Pilade in a magnificent staging of Gluck's Iphigénie en Tauride, opposite Tietjens (Iphigenia), Santley (Oreste) and Édouard Gassier (Thoas) - in which the soloists 'surpassed themselves':Mapleson 1888, I, 95. also he renewed his Corentin (Dinorah), with Ilma de Murska and Santley (Hoel), greatly to Mapleson's satisfaction.
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They led the cast in a new production of The Merry Wives of Windsor of Nicolai (as Mistress Ford and Fenton), with Bettini, Gassier, Santley and Caroline Bettelheim, which ran for many nights. Both appeared in Buckingham Palace concerts in that year. Giuglini was also Vincenzo in Gounod's Mireille, in a fight scene of which, owing to insufficient rehearsal, he received a resounding blow on the head from Santley, playing Ourrias.Santley 1892, 208-209.
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Tietjens sang again for the Royal Philharmonic Society in 1868. In the following year, when there was an attempt to form a union of the Her Majesty's and Covent Garden companies, the Italian season opened with Norma, Tietjens in the title role, with Sinico, Mongini and Foli. She also sang with Reeves and Santley in the premiere of Arthur Sullivan's The Prodigal Son in 1869. In 1870 Gassier retired (he died in 1872).
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Image and later used Velázquez's painting as the model for his Charles IV of Spain and His Family. As in Las Meninas, the royal family in Goya's work is apparently visiting the artist's studio. In both paintings the artist is shown working on a canvas, of which only the rear is visible. Goya, however, replaces the atmospheric and warm perspective of Las Meninas with what Pierre Gassier calls a sense of "imminent suffocation".
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Santley 1892, 240; Mapleson 1888, 94-95. In 1867 he was Ottavio in the Don Giovanni with Christina Nilsson, Tietjens, Sinico, Gassier (the Don) and Santley (Leporello), and his Corentino was repeated.Santley 1892, 250. Gardoni remained with Mapleson, and in Robert le Diable in 1872 he was Rambaldo to Christine Nilsson's Alice, Pietro Mongini's Roberto, Signor Foli's Bertramo and de Murska's IsabellaHerman Klein, Thirty Years of Musical Life in London (The Century Co., New York 1903), 154.
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In July 1863 Reeves appeared for Mapleson as Huon in Oberon – the role written for Braham – with Tietjens, Marietta Alboni, Zelia Trebelli, Alessandro Bettini, Edouard Gassier and Santley.Santley 1892, pp. 199–200. After touring that winter as Huon, Edgardo and in the title role of Gounod's Faust, (with Tietjens) in Dublin, in 1864 he appeared at Her Majesty's in Faust and was especially complimented for the dramatic instinct of Faust's soliloquy in Act I and the superb energy of the duet with Mephistopheles which closes the Act.
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This was at St James's Hall Piccadilly, conducted by William Sterndale Bennett: other soloists were the baritone Charles Santley, soprano Jenny Lind, violinist Joseph Joachim, pianist Lucy Anderson and the cellist Carlo Alfredo Piatti. The year 1863 saw the first performance of Gounod's Faust in England, at London's Her Majesty's Theatre, with Tietjens as Marguerite, Giuglini (as Faust), Charles Santley (as Valentin), Edouard Gassier (as Mephistopheles) and Trebelli (as Siebel). This production was transferred to the theatre at Covent Garden and was performed in every successive season until 1911.
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The Milkmaid of Bordeaux, 1825–27, is the third and final Goya portrait which may depict Leocadia Weiss.Hughes (2004), 402 Leocadia Weiss (née Zorrilla, 1790–1856)Junquera, 13 the artist's maid, younger by 35 years, and a distant relative,Gassier, 103 lived with and cared for Goya after Bayeu's death. She stayed with him in his Quinta del Sordo villa until 1824 with her daughter Rosario.Buchholz, 79 Leocadia was probably similar in features to Goya's first wife Josefa Bayeu, to the point that one of his well-known portraits bears the cautious title of Josefa Bayeu (or Leocadia Weiss).
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The cast included Thérèse Tietjens as Mireille (Mirella), Antonio Giuglini as Vincent (Vicenzo), Zelia Trebelli-Bettini as Taven (Tavena), Charles Santley as Ourrias (Urias), Mélanie-Charlotte Reboux as Vincennette (Vincenzina), Elisa Volpini as Andreloun (Andreluno), Marcel Junca as Ramon (Raimondo), and Édouard Gassier as Ambroise (Ambrogio), with Luigi Arditi as the conductor, but it was only a succès d'estime.Rosenthal 1958, p. 145; The Musical World, July 16, 1864; The Reader, July 9, 1864; Loewenberg 1978, column 967; Huebner 1990, p. 141. (Huebner mistakenly places this performance at the Covent Garden theatre; corrected in Huebner 2001, p. 338).
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Meanwhile, Mapleson had also recruited Adelina Patti, but she was immediately poached by Gye for Covent Garden. The Lyceum company opened on 8 June 1861 with Il trovatore with Giuglini and Tietjens, Alboni, Enrico Delle Sedie (who had sung with Giuglini in Milan) and Édouard Gassier, under Luigi Arditi. The second night was Lucrezia Borgia, with the same cast, Tietjens' greatest role. Soon afterwards Giuglini led a cast in the very successful first London production of Un ballo in maschera, just beating Covent Garden to it, after all-night rehearsals for weeks through productions of Les Huguenots, Lucrezia Borgia and Norma (Giuglini as Pollione, opposite Tietjens), all with Arditi conducting.
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In 1867, the tenor Pietro Mongini took the role of Alvaro opposite Santley's Vargas and Tietjens's Leonora in the first England La forza del destino (Verdi) on 22 June, with Gassier as Fra Melitone. At this time the illustrious Swedish soprano Christine Nilsson also became a regular performer at Her Majesty's, and there was a Don Giovanni with Tietjens and Nilsson, Mme Sinico, Gardoni and Rokitanski. The newspaper critic Herman Klein heard her in rehearsal at the 1868 Norwich Festival. He later remarked that then her voice was still fresh, powerful and penetrating, with the curiously dramatic 'human' quality that was perhaps its most notable attribute.
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Since the opening of the new San Mamés Stadium in 2013, it has been often used as an open-air concert venue, the first ever concert being one from the American band Guns N'Roses in 2017. Other relevant music festivals include the Bilbao Distrito Jazz and the Bilbao Ars Sacrum, the latter dedicated to religious music. Bilbao is the birthplace of famous composer Juan Crisóstomo Arriaga, who lived his formative years in the city before moving to Paris at age 15. Also native from Bilbao were the soprano singer Josefa Cruz de Gassier and Natividad Álvarez, nicknamed Nati, la bilbainita (Spanish for "Nati, the little one from Bilbao") a dancer and castanets player who achieved national fame in the early 20th century.
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Reynaud was born in Barcelonnette, Alpes-de-Haute-Provence, the son of Alexandre and Amelie (née Gassier) Reynaud. His father had made a fortune in the textile industry, enabling Reynaud to study law at the Sorbonne. He entered politics and was elected to the French Chamber of Deputies from 1919 to 1924, representing Basses-Alpes, and again from 1928, representing a Paris district. Although he was first elected as part of the conservative "Blue Horizon"the colour of French Army uniforms at the time - many of the new deputies were war veterans bloc in 1919, Reynaud shortly thereafter switched his allegiance to the centre-right Democratic Republican Alliance party, later becoming its vice-president. In the 1920s, Reynaud developed a reputation for laxity on German reparations, at a time when many in the French government backed harsher terms for Germany.
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In the same season Tietjens created the role of Selvaggia in Niccolo de' Lapi by Francesco Schira (conductor at Drury Lane), also with Trebelli, Giuglini and Santley (Niccolo). (This work was revived with far greater success as Selvaggia in Milan 1875.) There was more Il trovatore, a Norma (one of Tietjens's finest roles) with Désirée Artôt (making her debut that year also as Violetta and Marie) (mezzo) as Adalgisa, and Weber's Oberon with Sims Reeves (Huon), Marietta Alboni (Fatima), Trebelli (Puck), the tenor Alessandro Bettini (Oberon), Gassier (Babekan) and Santley (Scherasmin). That autumn she went with the Mapleson tour to Dublin to appear in Faust with Reeves, Trebelli and Santley, and for herself also made a tour in Paris. In 1867 he was a soloist in the premiere of the Sacred Cantata Woman of Samaria by William Sterndale Bennett at the 1867 Birmingham Music Festival conducted by the composer.
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However, Nigel Glendinning has refuted this later dating with arguments solely based on stylistic features of the painting. Glendinning argues that all the stylistic features found in The Colossus are already present (although not to the same degree) in Goya's previous paintings from The Meadow of San Isidro in 1788, which contains small figures painted with quick strokes; to Los Caprichos (1799) numbers 3 (Here comes the bogeyman) and 52 (What a tailor can do) for the theme of an oversized figure that is frightening.Cfr. los cited Caprichos; No. 3 Que viene el coco (Here comes the bogey-man) and No. 52 Lo que puede un sastre (What a tailor can do) As well as some drawings found in Goya's sketchbooks such as A giant figure on a balcony, A hooded giant and Proclamation Dream of the Witches (Gassier and Wilson No.s. 625, 633 and 638).
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