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.

Passage: The unnamed Narrator is an automobile recall specialist who is unfulfilled by his job and possessions, and has developed severe insomnia. He finds catharsis by posing as a sufferer of testicular cancer and other afflictions in support groups, remedying his insomnia. His bliss is disturbed by another impostor, Marla Singer, whose presence reminds him he is attending these groups dishonestly. The two agree to split which groups they attend, but not before they exchange contact details on the premise of switching groups at short notice.
On a flight home from a business trip, the Narrator meets and interacts with soap salesman Tyler Durden. The Narrator returns home to find that his apartment has been destroyed by an explosion. Deciding against asking Marla for help, he calls Tyler, and they meet at a bar. Tyler says the Narrator is beholden to consumerism. In the parking lot, he asks the Narrator to hit him, and they begin a fistfight.
The Narrator is invited to move into Tyler's home: a large, dilapidated house in an industrial area. They have further fights outside the bar, which attract growing crowds of men. The fights move to the bar's basement where the men form Fight Club, which routinely meets for the men to fight recreationally.
Marla overdoses on pills and telephones the Narrator for help; he ignores her, but Tyler picks up the phone and goes to her apartment to save her. Tyler and Marla get sexually involved, and Tyler warns the Narrator never to talk to Marla about him. The Narrator blackmails his boss and quits his job. 
Question: What is the last name of the person who fistfights with the Narrator?
Durden.

Passage: During Leopold's illness performances were impossible, so Wolfgang turned to composition. According to the writer and musician Jane Glover, Wolfgang was inspired to write symphonies after meeting Johann Christian Bach. It is not clear when this meeting occurred, or when Wolfgang first heard J. C. Bach's symphonies, although he had played the older composer's harpsichord works in his May 1764 royal recital. Wolfgang soon completed his Symphony No. 1 in E flat, K. 16, and started his No. 4 in D major, K. 19 (which Zaslaw concludes was more likely composed, or at least completed, in The Hague). The D major symphony has, in Hildesheimer's words, "an originality of melody and modulation which goes beyond the routine methods of his [grown-up] contemporaries". These are Wolfgang's first orchestral writings, although Zaslaw hypothesises a theoretical "Symphony No. 0" from sketches in Wolfgang's musical notebook. Three lost symphonies, identified in the Köchel catalogue of Mozart's works only by their incipits (first few bars of music), may also have originated from the London period. Other works composed by Wolfgang in London include several instrumental sonatas, the jewel of which, according to Hildesheimer, is the C major sonata for piano, four hands, K. 19d. A set of violin sonatas, with extra flute and cello parts, was dedicated to Queen Charlotte at her request, and presented to her with an appropriate inscription in January 1765. Wolfgang also wrote his first vocal works, the motet "God is our Refuge", K. 20, and the tenor aria Va, dal furor portata, K. 21. 
Question: What was the last name of the older composer who Wolfgang played their harpsichord works in his May 1764 royal recital?
Bach.

Passage: The premiere, originally planned for 14 September 1863, was postponed to the 30th because of the illness of the soprano lead, Léontine de Maësen. The first-night audience at the Théâtre Lyrique received the work well, and called for Bizet at the conclusion. The writer Louis Gallet, who later would provide several librettos for Bizet, described the composer on this occasion as "a little dazed ... a forest of thick curly hair above a round, still rather childish face, enlivened by the quick brown eyes..." The audience's appreciation was not reflected in the majority of the press reviews, which generally castigated both the work and what they considered Bizet's lack of modesty in appearing on stage. Gustave Bertrand in Le Ménestrel wrote that "this sort of exhibition is admissible only for a most extraordinary success, and even then we prefer to have the composer dragged on in spite of himself, or at least pretending to be". Another critic surmised that the calls for the composer had been orchestrated by a "claque" of Bizet's friends, strategically distributed.Of the opera itself, Benjamin Jouvin of Le Figaro wrote: "There were neither fishermen in the libretto nor pearls in the music". He considered that on every page the score displayed "the bias of the school to which [Bizet] belongs, that of Richard Wagner". Bertrand compared the work unfavourably with those of contemporary French composers such as Charles Gounod and Félicien David. "Nevertheless", he wrote, "there is a talent floating in the midst of all these regrettable imitations". Hector Berlioz was a voice apart in the general critical hostility; his review of the work in Journal des Débats praised the music's originality and subtlety: "The score of Les pêcheurs de perles does M. Bizet the greatest honour", he wrote. Among Bizet's contemporaries, the dramatist Ludovic Halévy wrote that this early work announced Bizet as a composer of quality: "I persist in finding in [the score] the rarest virtues". The youthful composer Émile Paladilhe told his father that the opera was superior to anything that the established French opera composers of the day, such as Auber and Thomas, were capable of producing.In its initial run Les pêcheurs de perles ran for 18 performances, alternating with Mozart's The Marriage of Figaro. It closed on 23 November 1863, and although it brought the theatre little financial success, Bizet had won admiration from his peers. Carvalho was satisfied enough to ask Bizet to quickly finish Ivan IV, with a view to its early production at the Théâtre Lyrique. This idea eventually came to nothing; Ivan IV remained unperformed until 1946. 
Question: What is the full name of the person whose review of Les pêcheurs de perles, in Journal des Débats, praised the music's originality and subtlety?

Hector Berlioz.