Task: Question Generation
Input (English): Passage: In the view of his biographer Hugh Macdonald, Massenet's main influences were Gounod and Thomas, with Meyerbeer and Berlioz also important to his style. From beyond France he absorbed some traits from Verdi, and possibly Mascagni, and above all Wagner. Unlike some other French composers of the period, Massenet never fell fully under Wagner's spell, but he took from the earlier composer a richness of orchestration and a fluency in treatment of musical themes.Although when he chose, Massenet could write noisy and dissonant scenes – in 1885 Bernard Shaw called him "one of the loudest of modern composers" – much of his music is soft and delicate. Hostile critics have seized on this characteristic, but the article on Massenet in the 2001 edition of Grove's Dictionary of Music and Musicians observes that in the best of his operas this sensual side "is balanced by strong dramatic tension (as in Werther), theatrical action (as in Thérèse), scenic diversion (as in Esclarmonde), or humour (as in Le portrait de Manon)."Massenet's Parisian audiences were greatly attracted by the exotic in music, and Massenet willingly obliged, with musical evocations of far-flung places or times long past. Macdonald lists a great number of locales depicted in the operas, from ancient Egypt, mythical Greece and biblical Galilee to Renaissance Spain, India and Revolutionary Paris. Massenet's practical experience in orchestra pits as a young man and his careful training at the Conservatoire equipped him to make such effects without much recourse to unusual instruments. He understood the capabilities of his singers, and composed with close, detailed regard for their voices.
Output (English): What is the last name of the person that notes the large amount of locales in the opera written by the man who had practical experience in orchestra pits as a young man?