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: Chat Moss may be named after St Chad, a 7th-century bishop of Mercia, but as it was once part of a great tree-edged lake, as evidenced by the numerous wood remains in the lower levels of the peat, it is perhaps more likely that the name stems from the Celtic word ced, meaning wood. Chat Moss could also derive from Ceatta, an Old English personal name and mos, a swamp or alternatively the first element could be the Old English ceat meaning a piece of wet ground. It was recorded as Catemosse in 1277 and Chatmos in 1322. Moss is the local name for a peat bog.Daniel Defoe visited the area in 1724, on his way from Warrington to Manchester:
From hence (Warrington), on the road to Manchester, we pass'd the great bog or waste call'd Chatmos, the first of that kind that we see in England ...
The surface, at a distance, looks black and dirty, and is indeed frightful to think of, for it will bear neither horse or man, unless in an exceeding dry season, and then not so as to be passable, or that any one should travel over them ... What nature meant by such a useless production, 'tis hard to imagine; but the land is entirely waste, excep ... for the poor cottagers fuel, and the quantity used for that is very small.
Peat bogs sometimes burst their boundaries, particularly after being subjected to heavy rainfall, and this seems to have happened with Chat Moss in the 16th century. John Leland, writing during the reign of King Henry VIII, described one such event:
Chat Moss brast up within a mile of Mosley Haul, and destroied much grounde with mosse thereabout, and destroyed much fresh-water fishche thereabout, first corrupting with stinkinge water Glasebrooke, and so Glasebrooke carried stinkinge water and mosse into Mersey water, and Mersey corrupted carried the roulling mosse, part to the shores of Wales, part to the isle of Man, and some unto Ireland.
Chat Moss presented a significant challenge to the engineers constructing the Liverpool and Manchester Railway in 1826 because of the difficulty in providing a solid base for the track, in particular at a location known as Blackpool Hole. George Stephenson  was the engineer in charge of the project, and his initial idea was to dump enough spoil in the bog so that it would reach the bottom. This approach turned out to be impractical however, as the liquidity of the bog allowed the spoil to flow away from where the track was to be laid. The eventual solution, to build the line on a "floating" wood and stone foundation, was hailed as a "great triumph of engineering". The first train ran through Chat Moss in 1830, and the line is still in use today. 
Question: What place did Daniel Defoe visited in 1724?

A: Chatmos.
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Q: Passage: Richard "Dick" Purcell, a taxi driver, aspires to achieve his dream of becoming a singer. After a couple of theatre critics discover him while riding in his cab, one of them recommends him to a radio producer. The producer's secretary, Alice Hughes, hears him sing and falls in love with him. She sets up an audition for Dick to sing for the sponsor, Mrs. Flaggenheim. He's late for his audition and blows his big chance. 
Convinced she must go to Italy to find a good enough singer, with enough "romance" to represent her fine cheese products, Mrs. Flaggenheim takes Alice with her to find one in Venice. Dick watches as Alice boards the ship and manages to get on board and work for his passage to Italy. When in Venice, he looks up his friend and mentor from New York City, professor de Vinci, who had gone ahead to use his old connections to help Dick's singing career. They manage to score a couple of jobs as gondoliers for an upcoming event.
Dick uses the opportunity to showcase his voice. Mrs. Flaggenheim hears him and wants to sign him to a contract immediately, thinking he's an authentic Italian named "Ricardo Purcelli". Alice recognizes him, but they continue to hide his true identity and they all go back to New York, where he quickly becomes a radio sensation. Alice's jilted boyfriend finds out Ricardo Purcelli is actually just Dick and gives him an ultimatum. Dick must decide if he wants to continue masquerading as Ricardo and finally attain the fame and fortune he'd always dreamed of....or give it all up for Alice, the one he loves. 
Question: In order to be with the radio producer's secretary, who must he stop pretending to be?

A: Ricardo Purcelli.
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Q: Passage: Interest in Monteverdi revived in the late 18th and early 19th centuries among music scholars in Germany and Italy, although he was still regarded as essentially a historical curiosity. Wider interest in the music itself began in 1881, when Robert Eitner published a shortened version of the Orfeo score. Around this time Kurt Vogel scored the madrigals from the original manuscripts, but more critical interest was shown in the operas, following the discovery of the L'incoronazione manuscript in 1888 and that of Il ritorno in 1904. Largely through the efforts of Vincent d'Indy, all three operas were staged in one form or other, during the first quarter of the 20th century: L'Orfeo in May 1911, L'incoronazione in February 1913 and Il ritorno in May 1925.The Italian nationalist poet Gabriele D'Annunzio lauded Monteverdi and in his novel Il fuoco (1900) wrote of "il divino Claudio ... what a heroic soul, purely Italian in its essence!" His vision of Monteverdi as the true founder of Italian musical lyricism was adopted by musicians who worked with the regime of Benito Mussolini (1922–1945), including Francesco Malipiero, Luigi Dallapiccola, and Mario Labroca, who contrasted Monteverdi with the decadence of the music of Richard Strauss, Claude Debussy and Igor Stravinsky.In the years after the Second World War the operas began to be performed in the major opera houses, and eventually were established in the general repertory. The resuscitation of Monteverdi's sacred music took longer; he did not benefit from the Catholic Church's 19th-century revival of Renaissance music in the way that Palestrina did, perhaps, as Carter suggests, because Monteverdi was viewed chiefly as a secular composer. It was not until 1932 that the 1610 Vespers were published in a modern edition, followed by Redlich's revision two years later. Modern editions of the Selva morales and Missa e Salmi volumes were published respectively in 1940 and 1942. 
Question: What is the last name of the person who did not benefit from the Catholic Church's 19th-century revival of Renaissance music in the way that Palestrina did?

A:
Monteverdi.
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