In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Q: Passage: Fuller's time at Adyar was eventful. Leadbeater arrived around the same time as Fuller, and soon afterward he "discovered" the person he believed would become a global teacher and orator, Jiddu Krishnamurti (then in his teens). Leadbetter and others tutored Krishnamurti. Fuller may have taught him photography. She also had a small studio built in the grounds, and painted. Her works from the period include a portrait of Leadbeater and Portrait of the Lord Buddha. McFarlane emphasises the significance of the latter work, pointing out that it is "strikingly modern" in comparison to all of Fuller's other work, and more radical than compositions created by Grace Cossington Smith and Roland Wakelin, half a decade later. The painting owes much to theosophy's emphasis on seeing the subject "through a psychic, visionary experience".
Sources describing Fuller's movements after her time in India sometimes are ambiguous. She arrived in England in June 1911, where she marched with Besant in the suffragette protests associated with the coronation of George V. She continued to paint portraits, but found it difficult to realise the transformation in her art that she had conceptualised in India:I have painted a great many portraits since I have been in England, and have been, I suppose, fairly successful—though I have done nothing in any way remarkable. The hidden inner life has not yet succeeded in expressing itself on canvas, and I can only write myself as one who aspires to a greater art, but who has not yet achieved. 
Question: What is the last name of the person who went to England in June 1911?

A: Fuller.
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Q: Passage: Throughout the early years of the July Monarchy, Alkan continued to teach and play at public concerts and in eminent social circles. He became a friend of many who were active in the world of the arts in Paris, including Franz Liszt (who had been based there since 1827), George Sand, and Victor Hugo. It is not clear exactly when he first met Frédéric Chopin, who arrived in Paris in September 1831. In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire. In the same year, aged 19, he was elected to the influential Société Académique des Enfants d'Apollon (Society of the Children of Apollo), whose members included Luigi Cherubini, Fromental Halévy, the conductor François Habeneck, and Liszt, who had been elected in 1824 at the age of twelve. Between 1833 and 1836 Alkan participated at many of the Society's concerts. Alkan twice competed unsuccessfully for the Prix de Rome, in 1832 and again in 1834; the cantatas which he wrote for the competition, Hermann et Ketty and L'Entrée en loge, have remained unpublished and unperformed.In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau, which was to result in an extended and often intimate correspondence which only came to light in 2009. Like virtually all of Alkan's correspondence, this exchange is now one-sided; all of his papers (including his manuscripts and his extensive library) were either destroyed by Alkan himself, as is clear from his will, or became lost after his death. Later in 1834 Alkan made a visit to England, where he gave recitals and where the second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field; it was published in London together with some solo piano pieces. A letter to Masarnau and a notice in a French journal that Alkan played in London with Moscheles and Cramer, indicate that he returned to England in 1835. Later that year, Alkan, having found a place of retreat at Piscop outside Paris, completed his first truly original works for solo piano, the Twelve Caprices, published in 1837 as Opp. 12, 13, 15 and 16. Op. 16, the Trois scherzi de bravoure, is dedicated to Masarnau. In January 1836, Liszt recommended Alkan for the post of Professor at the Geneva Conservatoire, which Alkan declined, and in 1837 he wrote an enthusiastic review of Alkan's Op. 15 Caprices in the Revue et gazette musicale. 
Question: Whose cantatas written for the competition, Hermann et Ketty and L'Entrée en loge, have remained unpublished and unperformed?

A: Alkan.
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Q: Passage: Sir Henry Joseph Wood  (3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of promenade concerts, known as the Proms.  He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms".
Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the Royal Academy of Music, he came under the influence of the voice teacher Manuel Garcia and became his accompanist. After similar work for Richard D'Oyly Carte's opera companies on the works of Arthur Sullivan and others, Wood became the conductor of a small operatic touring company.  He was soon engaged by the larger Carl Rosa Opera Company. One notable event in his operatic career was conducting the British premiere of Tchaikovsky's Eugene Onegin in 1892.
From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario Robert Newman to conduct a series of promenade concerts at the Queen's Hall, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music.  When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the Royal Albert Hall.
Wood declined the chief conductorships of the New York Philharmonic and Boston Symphony Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long career: he and Newman greatly improved access to classical music, and Wood raised the standard of orchestral playing and nurtured the taste of the public, presenting a vast repertoire of music spanning four centuries. 
Question: What is the last name of the person who studied at the Royal Academy of Music?

A:
Wood.
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