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Barcelona Concert Tests Use of Same-Day COVID-19 Screening

A volunteer undergoes a screening for the coronavirus to see if he can join a pool of around 500 people allowed into a concert in Barcelona, Spain, Saturday, Dec. 12, 2020. (AP)
A volunteer undergoes a screening for the coronavirus to see if he can join a pool of around 500 people allowed into a concert in Barcelona, Spain, Saturday, Dec. 12, 2020. (AP)
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Barcelona Concert Tests Use of Same-Day COVID-19 Screening

A volunteer undergoes a screening for the coronavirus to see if he can join a pool of around 500 people allowed into a concert in Barcelona, Spain, Saturday, Dec. 12, 2020. (AP)
A volunteer undergoes a screening for the coronavirus to see if he can join a pool of around 500 people allowed into a concert in Barcelona, Spain, Saturday, Dec. 12, 2020. (AP)

Eager for a live music show after months of social distancing, more than 1,000 Barcelona residents gathered Saturday to participate in a medical study to evaluate the effectiveness of same-day coronavirus screening to safely hold cultural events.

After passing an antigen screening, 500 of the volunteers were randomly selected to enjoy a free concert inside Barcelona’s Apolo Theater.

The other 500 who didn't get selected were sent home. They will form a control group that will allow the organizers to analyze if there was any contagion inside the concert hall despite the screening with antigen tests, which while not as accurate as other types of tests, do produce results in 15 minutes as compared to several hours, or days, later.

Carolina Rius was one music lover willing to accept the risk of mingling among a large group of people indoors so she could finally experience a concert without having to remain seated and two meters apart as currently dictated by health authorities.

“I really, really missed going to concerts, above all to hear some rock ’n’ roll,” the 56-year-old Rius said. “I don’t feel like a guinea pig. I feel like I am taking a stand. The world of culture, and above all the concert halls, are having a very bad time of it and I don’t want them to shut for good.

“And if they end up choosing me in the draw to go to a concert, that will be the cherry on top.”

The study is organized by Barcelona's The Fight AIDS and Infectious Diseases Foundation along with the Primavera Sound music festival. The study was given the go-ahead by the regional authorities in northeast Catalonia.

“This is not a party, this is a scientific study,” Dr. Boris Revollo, the virologist who designed the study’s protocols, told The Associated Press. He insisted that the use of same-day antigen screening for large events wasn't a substitute for face masks and other sanitation rules, but he believed it could be a powerful tool to help make large events safe enough until vaccines are widespread enough to beat back COVID-19.

“This could be useful in all types of events, from cultural events, to business congresses, to sporting events,” Revollo said. “And young people, as we have seen, are holding their own clandestine parties because they have no other outlet.”

The 500 allowed into the five-hour music festival of rock groups and disc jockeys had to wear FFP2 face masks and use hand disinfectant.

Social distancing, however, on the concert floor wasn't enforced in an attempt to get as close as possible to a real concert atmosphere. The crowd reveled in the newfound freedom, dancing closely together and jostling one another for a bit of fun.

The face masks stayed put except in the upstairs bar where organizers allowed them to be removed to have the one drink volunteers were treated to. Some people indulged in hugs with friends.

All 1,000 of the volunteers will also undergo two PCR tests, which have a higher capacity to detect the virus than the same-day antigen test, first on Saturday before the concert, and then again eight days later. Revollo said these PCR tests will allow him and his fellow investigators to determine if any infected people got past the same-day antigen screen and, if so, did they infect others inside the show.

Spain is still under limited restrictions for the pandemic that has killed a confirmed 47,600 residents.

Concert halls have been one of the hardest hit sectors by the health restrictions applied in Spain, twice being completely shut down for several months. In November, an association representing concert halls in Spain said that more than 25,000 shows had been canceled because of the pandemic, costing the industry 120 million euros ($145 million) in lost revenue. Halls were only recently allowed to reopen in Barcelona but at 50% capacity or a maximum of 500 people.

Epidemiologist Joan Caylà, who has no connection to the study, said that while “vaccines are still far off” before they reach everyone, even the successful use of antigen testing wouldn't eliminate the need to keep events small and highly controlled.

“It is very important that those attending the event act responsibly,” Caylà said. “A certain risk of causing an outbreak exists.”

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Lalo Schifrin, Composer of the ‘Mission: Impossible’ Theme, Dies at 93

Grammy Award winning composer Lalo Schifrin appears at his studio in Beverly Hills, Calif., on May 10, 2006. (AP)
Grammy Award winning composer Lalo Schifrin appears at his studio in Beverly Hills, Calif., on May 10, 2006. (AP)
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Lalo Schifrin, Composer of the ‘Mission: Impossible’ Theme, Dies at 93

Grammy Award winning composer Lalo Schifrin appears at his studio in Beverly Hills, Calif., on May 10, 2006. (AP)
Grammy Award winning composer Lalo Schifrin appears at his studio in Beverly Hills, Calif., on May 10, 2006. (AP)

Lalo Schifrin, the composer who wrote the endlessly catchy theme for “Mission: Impossible” and more than 100 other arrangements for film and television, died Thursday. He was 93.

Schifrin’s sons William and Ryan confirmed his death to trade outlets. The Associated Press’ messages to Schifrin’s publicist and representatives for either brother were not immediately returned.

The Argentine won four Grammys and was nominated for six Oscars, including five for original score for “Cool Hand Luke,” “The Fox,” “Voyage of the Damned,” “The Amityville Horror” and “The Sting II.”

“Every movie has its own personality. There are no rules to write music for movies,” Schifrin told The Associated Press in 2018. “The movie dictates what the music will be.”

He also wrote the grand finale musical performance for the World Cup championship in Italy in 1990, in which the Three Tenors — Plácido Domingo, Luciano Pavarotti and José Carreras — sang together for the first time. The work became one of the biggest sellers in the history of classical music.

‘The most contagious tune ever heard’

Schifrin, also a jazz pianist and classical conductor, had a remarkable career in music that included working with Dizzy Gillespie and recording with Count Basie and Sarah Vaughan. But perhaps his biggest contribution was the instantly recognizable score to television’s “Mission: Impossible,” which fueled the just-wrapped, decades-spanning feature film franchise led by Tom Cruise.

Written in the unusual 5/4 time signature, the theme — Dum-dum DUM DUM dum-dum DUM DUM — was married to an on-screen self-destruct clock that kicked off the TV show, which ran from 1966 to 1973. It was described as “only the most contagious tune ever heard by mortal ears” by New Yorker film critic Anthony Lane and even hit No. 41 on the Billboard Hot 100 in 1968.

Schifrin originally wrote a different piece of music for the theme song, but series creator Bruce Geller liked another arrangement Schifrin had composed for an action sequence.

“The producer called me and told me, ‘You’re going to have to write something exciting, almost like a logo, something that will be a signature, and it’s going to start with a fuse,’” Schifrin told the AP in 2006. “So I did it and there was nothing on the screen. And maybe the fact that I was so free and I had no images to catch, maybe that’s why this thing has become so successful because I wrote something that came from inside me.”

When director Brian De Palma was asked to take the series to the silver screen, he wanted to bring the theme along with him, leading to a creative conflict with composer John Williams, who wanted to work with a new theme of his own. Out went Williams and in came Danny Elfman, who agreed to retain Schifrin’s music.

Hans Zimmer took over scoring for the second film, and Michael Giacchino scored the next two. Giacchino told NPR he was hesitant to take it on, because Schifrin’s music was one of his favorite themes of all time.

“I remember calling Lalo and asking if we could meet for lunch,” Giacchino told NPR. “And I was very nervous — I felt like someone asking a father if I could marry their daughter or something. And he said, ‘Just have fun with it.’ And I did.”

“Mission: Impossible” won Grammys for best instrumental theme and best original score from a motion picture or a TV show. In 2017, the theme was entered into the Grammy Hall of Fame.

U2 members Adam Clayton and Larry Mullen Jr. covered the theme while making the soundtrack to 1996’s first installment; that version peaked at No. 16 on the Billboard 200 with a Grammy nomination.

A 2010 commercial for Lipton tea depicted a young Schifrin composing the theme at his piano while gaining inspiration through sips of the brand’s Lipton Yellow Label. Musicians dropped from the sky as he added elements.

Early life filled with music

Born Boris Claudio Schifrin to a Jewish family in Buenos Aires, where his father was the concertmaster of the philharmonic orchestra, Schifrin was classically trained in music, in addition to studying law.

After studying at the Paris Conservatory, where he learned about harmony and composition from the legendary Olivier Messiaen, Schifrin returned to Argentina and formed a concert band. Gillespie heard Schifrin perform and asked him to become his pianist, arranger and composer. In 1958, Schifrin moved to the United States, playing in Gillespie’s quintet in 1960-62 and composing the acclaimed “Gillespiana.”

The long list of luminaries he performed and recorded with includes Ella Fitzgerald, Stan Getz, Dee Dee Bridgewater and George Benson. He also worked with such classical stars as Zubin Mehta, Mstislav Rostropovich, Daniel Barenboim and others.

Schifrin moved easily between genres, winning a Grammy for 1965’s “Jazz Suite on the Mass Texts” while also earning a nod that same year for the score of TV’s “The Man From U.N.C.L.E.” In 2018, he was given an honorary Oscar statuette and, in 2017, the Latin Recording Academy bestowed on him one of its special trustee awards.

Later film scores included “Tango,” “Rush Hour” and its two sequels, “Bringing Down The House,” “The Bridge of San Luis Rey,” “After the Sunset” and the horror film “Abominable.”

Writing the arrangements for “Dirty Harry,” Schifrin decided that the main character wasn’t in fact Clint Eastwood’s hero, Harry Callahan, but the villain, Scorpio.

“You would think the composer would pay more attention to the hero. But in this case, no, I did it to Scorpio, the bad guy, the evil guy,” he told the AP. “I wrote a theme for Scorpio.”

It was Eastwood who handed him his honorary Oscar.

“Receiving this honorary Oscar is the culmination of a dream,” Schifrin said at the time. “It is mission accomplished.”

Beyond film and TV

Among Schifrin’s conducting credits include the London Symphony Orchestra, the Vienna Symphony Orchestra, the Israel Philharmonic, the Mexico Philharmonic, the Houston Symphony Orchestra, the Los Angeles Chamber Orchestra and the Atlanta Symphony Orchestra. He was appointed music director of Southern California’s Glendale Symphony Orchestra and served in that capacity from 1989-1995. Schifrin also wrote and adapted the music for “Christmas in Vienna” in 1992, a concert featuring Diana Ross, Carreras and Domingo.

He also combined tango, folk and classical genres when he recorded “Letters from Argentina,” nominated for a Latin Grammy for best tango album in 2006.

Schifrin was also commissioned to write the overture for the 1987 Pan American Games, and composed and conducted the event’s 1995 final performance in Argentina.

And for perhaps one of the only operas performed in the ancient Indigenous language of Nahuatl, in 1988 Schifrin wrote and conducted the choral symphony “Songs of the Aztecs.” The work premiered at Mexico’s Teotihuacan pyramids with Domingo as part of a campaign to raise money to restore the site’s Aztec temple.

“I found it to be a very sweet, musical language, one in which the sounds of the words dictated interesting melodies,” Schifrin told The Associated Press at the time. “But the real answer is that there’s something magic about it. ... There’s something magic in the art of music anyway.”

In addition to his sons, he’s survived by his daughter, Frances, and wife, Donna.