In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Q: Passage: A tsunami is an unusual form of wave caused by an infrequent powerful event such as an underwater earthquake or landslide, a meteorite impact, a volcanic eruption or a collapse of land into the sea. These events can temporarily lift or lower the surface of the sea in the affected area, usually by a few feet. The potential energy of the displaced seawater is turned into kinetic energy, creating a shallow wave, a tsunami, radiating outwards at a velocity proportional to the square root of the depth of the water and which therefore travels much faster in the open ocean than on a continental shelf. In the deep open sea, tsunamis have wavelengths of around 80 to 300 miles (130 to 480 km), travel at speeds of over 600 miles per hour (970 km/hr) and usually have a height of less than three feet, so they often pass unnoticed at this stage. In contrast, ocean surface waves caused by winds have wavelengths of a few hundred feet, travel at up to 65 miles per hour (105 km/h) and are up to 45 feet (14 metres) high.A trigger event on the continental shelf may cause a local tsunami on the land side and a distant tsunami that travels out across the ocean. The energy of the wave is dissipated only gradually, but is spread out over the wave front, so as the wave radiates away from the source, the front gets longer and the average energy reduces, so distant shores will, on average, be hit by weaker waves. However, as the speed of the wave is controlled by the water depth, it does not travel at the same speed in all directions, and this affects the direction of the wave front - an effect known as refraction - which can focus the strength of the advancing tsunami on some areas and weaken it in others according to undersea topography.
As a tsunami moves into shallower water its speed decreases, its wavelength shortens and its amplitude increases enormously, behaving in the same way as a wind-generated wave in shallow water, but on a vastly greater scale.  Either the trough or the crest of a tsunami can arrive at the coast first. In the former case, the sea draws back and leaves subtidal areas close to the shore exposed which provides a useful warning for people on land. When the crest arrives, it does not usually break but rushes inland, flooding all in its path. Much of the destruction may be caused by the flood water draining back into the sea after the tsunami has struck, dragging debris and people with it. Often several tsunami are caused by a single geological event and arrive at intervals of between eight minutes and two hours. The first wave to arrive on shore may not be the biggest or most destructive.  Occasionally, a tsunami may transform into a bore, typically in a shallow bay or an estuary.

A: What two types of tsunami's can a trigger event on the continental shelf cause?
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Q: Passage: As The Five's campaign against Rubinstein continued in the press, Tchaikovsky found himself almost as much a target as his former teacher. Cui reviewed the performance of Tchaikovsky's graduation cantata and lambasted the composer as "utterly feeble.... If he had any talent at all ... it would surely at some point in the piece have broken free of the chains imposed by the Conservatory." The review's effect on the sensitive composer was devastating. Eventually, an uneasy truce developed as Tchaikovsky became friendly with Balakirev and eventually with the other four composers of the group. A working relationship between Balakirev and Tchaikovsky resulted in Romeo and Juliet. The Five's approval of this work was further followed by their enthusiasm for Tchaikovsky's Second Symphony. Subtitled the Little Russian (Little Russia was the term at that time for what is now called the Ukraine) for its use of Ukrainian folk songs, the symphony in its initial version also used several compositional devices similar to those used by the Five in their work. Stasov suggested the subject of Shakespeare's The Tempest to Tchaikovsky, who wrote a tone poem based on this subject. After a lapse of several years, Balakirev reentered Tchaikovsky's creative life; the result was Tchaikovsky's Manfred Symphony, composed to a program after Lord Byron originally written by Stasov and supplied by Balakirev. Overall, however, Tchaikovsky continued down an independent creative path, traveling a middle course between those of his nationalistic peers and the traditionalists.

A: What was the name of the group that approved of the work of Romeo and Juliet?
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Q: Passage: The 350th anniversary of Monteverdi's death, celebrated in 1993, brought a further wave of interest in his works, and since that time performances of L'incoronazione have been given in opera houses and music festivals all over the world. In April 1994 the Juilliard School in New York presented a version based on Curtis's edition, with an orchestra that mixed baroque and modern elements. Allan Kozinn wrote in The New York Times that this production had done well to resolve daunting problems arising from Monteverdi's having left instrumentation and scoring details open, and from the numerous competing versions of the score. In 2000 the work was chosen by Opéra de Montréal as the company's first venture into baroque opera, with a performance directed by Renaud Doucet. Opera Canada reported that Doucet had found "a perfect rhetoric for a modern crowd, creating an atmosphere of moral ambivalence that the courtiers of Monteverdi's day would have taken for granted." Less successful, in the critics' eyes, was the innovative English National Opera (ENO) production directed by Chen Shi-Zheng in October 2007. According to The London Evening Standard critic Fiona Maddocks the cast was strong, but they all seemed to be playing in the wrong roles. For unexplained reasons much of the action took place underwater; at one point "a snorkeller flip-flops across the stage in a harness." Seneca "wore green Wellington boots and pushed a lawnmower". At the end of 2007, in his opera review of the year in The Daily Telegraph, Rupert Christiansen compared ENO's production unfavourably with a punk musical version of the opera that had been staged during that year's Edinburgh Festival.In May 2008 L'incoronazione returned to Glyndebourne in a new production by Robert Carsen, with Leppard's large-scale orchestration replaced by the period instruments of the Orchestra of the Age of Enlightenment under Emmanuelle Haïm. The Organ's reviewer praised the vocal quality of the performers, found Haim's handling of the orchestra "a joy throughout" and declared the whole production "a blessed relief" after the previous year's ENO staging. On 19 August the Glyndebourne singers and the orchestra, led by Haim, presented a semi-staged version of the opera at the 2008 BBC Proms, at the Royal Albert Hall. Elsewhere the French-based ensemble Les Arts Florissants, under its director William Christie, presented the Monteverdi trilogy of operas (L'Orfeo, Il ritorno d'Ulisse and L'incoronazione) in the period 2008–10, with a series of performances at the Teatro Real in Madrid.

A:
Which group's production had done well to resolve daunting problems arising from Monteverdi's having left instrumentation and scoring details open?
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