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: Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "Wie schön leuchtet der Morgenstern". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

A: What books of the Bible are the prescribed readings for the feast day taken from?
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Q: Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.

A: What name did the company that was  titled "Sadler's Wells Opera" eventually change its name to?
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Q: Passage: Wallace was born in St. Mary's Hospital in the Brooklyn borough of New York City, on May 21, 1972, the only child of Jamaican parents, Voletta Wallace, a preschool teacher, and Selwyn George Latore, a welder and politician. His father left the family when Wallace was two years old, and his mother worked two jobs while raising him. Wallace grew up in Clinton Hill, on 226 St. James Place, near the border of Bedford-Stuyvesant, Brooklyn.At Queen of All Saints Middle School, Wallace excelled, winning several awards as an English student. He was nicknamed "Big" because of his overweight size by age 10. He said he started dealing drugs when he was around the age of 12. His mother, often away at work, did not know of his drug dealing until he was an adult. Wallace began rapping as a teenager, entertaining people on the streets and performed with local groups the Old Gold Brothers and the Techniques.At his request, Wallace transferred from Bishop Loughlin Memorial High School to George Westinghouse Career and Technical Education High School, where future rappers DMX, Jay-Z and Busta Rhymes were also attending. According to his mother, Wallace was still a good student but developed a "smart-ass" attitude at the new school. At seventeen, Wallace dropped out of school and became more involved in crime. In 1989, he was arrested on weapons charges in Brooklyn and sentenced to five years' probation. In 1990, he was arrested on a violation of his probation. A year later, Wallace was arrested in North Carolina for dealing crack cocaine. He spent nine months in jail before making bail.

A:
What is the full name of the person that left when Wallace was two years old?
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