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.

Input: Consider Input: Passage: A NASA spacecraft lands on an unknown planet and begins to take rock and soil samples. Four aliens discover it and are sucked into the craft through its vacuum tube, after which it makes its way back to Earth. The aliens are able to escape from a government base by using their powers (with which they can destroy or heal anything they touch). During the escape, the youngest one hides in a passing van, occupied by a boy named Eric Cruise who uses a wheelchair, his older brother, Michael, and their single mother, Janet, who are moving to California from Illinois.
Shortly after the Cruise family arrives at their new home, Eric becomes suspicious of the alien's presence. The next morning, he finds that the creature has trashed most of the house and learns its identity, but is blamed alongside his brother by their mother for what has happened. After seeing the creature again, Eric tries to catch up to him, but ends up sliding down a hill and falls into a lake, where he nearly drowns, but is rescued by the alien. Eric is not believed at all when he tries to tell his family about the creature's actions.
Later that night, he sets a trap with the help of his new friend, Debbie, who had also seen the alien. The two trap him inside a vacuum cleaner, which malfunctions and causes the entire neighborhood to suffer a power surge. After the alien is released, Michael now believes Eric, but it leaves before Janet can be convinced. Eric's behavior towards the alien changes after he fixes all of the damage he caused to the house, and leaves behind several newspaper clippings which Eric believes are an attempt to communicate. 
Question: Who fixes the damage to the house?

Output: the alien.


Input: Consider Input: Passage: With the encouragement of his parents, Ravel applied for entry to France's most important musical college, the Conservatoire de Paris. In November 1889, playing music by Chopin, he passed the examination for admission to the preparatory piano class run by Eugène Anthiome. Ravel won the first prize in the Conservatoire's piano competition in 1891, but otherwise he did not stand out as a student.   Nevertheless, these years were a time of considerable advance in his development as a composer. The musicologist Arbie Orenstein writes that for Ravel the 1890s were a period "of immense growth ... from adolescence to maturity." 
In 1891 Ravel progressed to the classes of Charles-Wilfrid de Bériot, for piano, and Émile Pessard, for harmony. He made solid, unspectacular progress, with particular encouragement from Bériot but, in the words of the musical scholar Barbara L. Kelly, he "was only teachable on his own terms". His later teacher Gabriel Fauré understood this, but it was not generally acceptable to the conservative faculty of the Conservatoire of the 1890s. Ravel was expelled in 1895, having won no more prizes. His earliest works to survive in full are from these student days: Sérénade grotesque, for piano, and "Ballade de la Reine morte d'aimer", a mélodie setting a poem by Roland de Marès (both 1893).Ravel was never so assiduous a student of the piano as his colleagues such as Viñes and Cortot were. It was plain that as a pianist he would never match them, and his overriding ambition was to be a composer. From this point he concentrated on composition. His works from the period include the songs "Un grand sommeil noir" and "D'Anne jouant de l'espinette" to words by Paul Verlaine and Clément Marot, and the piano pieces Menuet antique and Habanera (for four-hands), the latter eventually incorporated into the Rapsodie espagnole. At around this time, Joseph Ravel introduced his son to Erik Satie, who was earning a living as a café pianist. Ravel was one of the first musicians – Debussy was another – who recognised Satie's originality and talent. Satie's constant experiments in musical form were an inspiration to Ravel, who counted them "of inestimable value". 
Question: What are the names of the two colleagues who it was plain that Ravel, as a pianist, would never match?

Output: Viñes.


Input: Consider Input: Passage: In the latter years of the 20th century the opera was a regular feature in many European cities, and was still breaking new ground; in 1990 it made its debut at the Slovak National Theatre in Bratislava. Vienna saw it for the first time in 1994, at the Vienna Volksoper, in what John Rockwell in the New York Times described as "an awkwardly updated production", though well performed. The opera had not so far proved particularly popular in the United States, where since the Met premiere of 1916, performances had been rare compared with Europe. Lyric Opera of Chicago staged it in 1966, but waited until 1998 before reviving it. In 1980 the New York City Opera mounted a production based on the 1863 edition, and staged it again in 1983 and 1986. Reviewing the 1986 production, Henahan wrote that despite the inept libretto the work was saved by the "melodic suppleness and warmth" of Bizet's score.San Diego Opera first staged the work in 1993, but it was this company's 2004 production, designed by Zandra Rhodes, that generated new levels of enthusiasm for the opera throughout the United States. In the following few years this production was shown in seven other U.S. opera houses; in October 2008 James C. Whitson, in Opera News, reported that worldwide, "between 2007 and 2009, half of all major production of the piece have been or will be ... in the U.S.". San Diego's director, Ian Campbell, suggested that his company's 2004 production was "created at a time when it seemed many U.S. opera companies were looking for a not-too-expensive production with melody, and a little off the beaten track .... [Our] Les pêcheurs de perles fitted the bill.
In January 2008 the opera received its first performance in Sri Lanka, the land of its setting. The conductor, Benjamin Levy, directed a large group of singers and musicians, mostly young and local.  In October 2010, after an interval of more than 120 years, the opera was reintroduced to London's Royal Opera House. Two concert performances were given using a new edition of the score, prepared by Brad Cohen after the discovery in the Bibliothèque nationale de France of Bizet's 1863 conducting score. Commenting on this performance in The Daily Telegraph, Rupert Christiansen drew attention to the "musing intimacy and quiet dignity" with which the duet was sung, as compared with more traditional macho renderings.The Metropolitan New York presented a new production of the work in 2016, the first time the opera had been performed there for nearly a hundred years. 
Question: What was the name of the opera that the Metropolitan New York presented a new production of the work in 2016?


Output: Les pêcheurs de perles.