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: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.". 
Question: What were the names of the five models Saint-Saëns forged his own style from?
[A]: Handel.


[Q]: Passage: Lennon was born on 9 October 1940 at Liverpool Maternity Hospital, to Julia (née Stanley) (1914–1958) and Alfred Lennon (1912–1976). Alfred was a merchant seaman of Irish descent who was away at the time of his son's birth. His parents named him John Winston Lennon after his paternal grandfather, John "Jack" Lennon, and Prime Minister Winston Churchill. His father was often away from home but sent regular pay cheques to 9 Newcastle Road, Liverpool, where Lennon lived with his mother; the cheques stopped when he went absent without leave in February 1944. When he eventually came home six months later, he offered to look after the family, but Julia, by then pregnant with another man's child, rejected the idea. After her sister Mimi complained to Liverpool's Social Services twice, Julia gave her custody of Lennon. In July 1946, Lennon's father visited her and took his son to Blackpool, secretly intending to emigrate to New Zealand with him. Julia followed them – with her partner at the time, Bobby Dykins – and after a heated argument, his father forced the five-year-old to choose between them. In one account of this incident, Lennon twice chose his father, but as his mother walked away, he began to cry and followed her. According to author Mark Lewisohn, however, Lennon's parents agreed that Julia should take him and give him a home. A witness who was there that day, Billy Hall, has said that the dramatic portrayal of a young John Lennon being forced to make a decision between his parents is inaccurate. Lennon had no further contact with Alf for close to 20 years.Throughout the rest of his childhood and adolescence, Lennon lived at Mendips, 251 Menlove Avenue, Woolton, with Mimi and her husband George Toogood Smith, who had no children of their own. His aunt purchased volumes of short stories for him, and his uncle, a dairyman at his family's farm, bought him a mouth organ and engaged him in solving crossword puzzles. Julia visited Mendips on a regular basis, and when John was 11 years old, he often visited her at 1 Blomfield Road, Liverpool, where she played him Elvis Presley records, taught him the banjo, and showed him how to play "Ain't That a Shame" by Fats Domino. In September 1980, Lennon commented about his family and his rebellious nature:. 
Question: What was the name of the person that witnessed the heated scene between Julia and Alfred Lennon?
[A]: Billy Hall.


[Q]: Passage: In the United States, Good Girl Gone Bad debuted at number two on the Billboard 200 chart, selling 162,000 copies in its first week. It became Rihanna's then-best start album entry. The next week, it fell to number seven with 81,000 copies sold. The re-issue sold 63,000 copies in the first week and helped Good Girl Gone Bad jump from number 124 to number seven on the US Billboard 200 in its 55th week. It was certified six-time platinum by the Recording Industry Association of America (RIAA); by November 2013, both Good Girl Gone Bad and the reissue had sold 2,800,000 copies in the United States alone. To date, it is her best-selling album in the country. The album debuted atop of the Canadian Albums Chart and became Rihanna's second number-one album in the country. It was certified quintuple platinum by Music Canada, denoting shipments of more than 500,000 copies.Good Girl Gone Bad debuted at number one on the UK Albums Chart with sales of 54,000 copies in its first week. It became her first album to top the chart, and stayed on the chart for 177 weeks. In 2011, the album peaked at number 16 on the UK R&B Albums Chart. It was certified sextuple platinum by the British Phonographic Industry (BPI) and sold over 1,904,347 copies in the country. It ended at number 10 on the UK 2007 year-end list and number six on the 2008 year-end list. As of March 2015, Good Girl Gone Bad is the 46th best-selling album of the millennium in the United Kingdom. In Ireland, Good Girl Gone Bad debuted at number three on the Irish Singles Chart on June 7, 2007. After four weeks on the chart, it reached the top. The album peaked at number one on the Swiss Hitparade chart and stayed on the chart for 91 weeks. In Australia, it peaked at number two and was certified triple platinum by the Australian Recording Industry Association (ARIA), denoting shipments of over 210,000 copies. The album had sold 9 million copies worldwide.Before its physical release, "Umbrella" achieved the biggest debut in the six-year history of the iTunes Store in the United States, breaking a record previously held by Shakira's 2006 single "Hips Don't Lie". Following its digital release, the song debuted atop the Hot Digital Songs chart, with first-week sales of more than 277,000 units. The single became the highest digital debut in the United States since Nielsen SoundScan began tracking downloads in 2003, surpassing Timberlake's "SexyBack" 250,000 sales record in 2006. 
Question: How many digital sales did the song that achieved the biggest debut in the six-year history of the iTunes Store have in its first week?
[A]:
277,000.