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: The remaining vampire covens are on the verge of annihilation by the Lycans. Both species are searching for Selene: the vampires seek justice for the death of Viktor, while the Lycans, led by Marius, intend to use her to locate Eve, whose blood holds the key to building an army of vampire-werewolf hybrids.
Semira, a council member of the Eastern Coven, tells Thomas she wants Selene to be granted clemency and to train the coven's neophyte Death Dealers. She asks Thomas to plead Selene's case before the full council; the plea is successful and the council reluctantly agrees to a pardon in exchange for Selene's help. Selene arrives with David. Semira has Varga, her ally and lover, poison Selene and slaughter the trainees, framing Selene for the atrocity. With Selene in her power, Semira begins draining her blood, which she intends to drink to steal her power. Thomas and David attempt a rescue, but are attacked by Semira and Varga. Thomas is killed, but David and Selene escape.
The pair takes refuge at the Nordic Coven, pursued by Alexia, an Eastern Coven vampire dispatched by Semira. At Var Dohr, the Nordic Coven stronghold, Elder Vidar reveals that David is the son of High Elder Amelia, and thus the legitimate heir to the Eastern Coven.
Meanwhile, Alexia has told Marius, who is secretly her lover, that Selene is going to the Nordic Coven. Marius and his Lycans attack that coven. Selene and David fight alongside the Nordic vampires, who are led by Vidar's daughter Lena. Selene engages Marius in single combat, but he is too powerful in werewolf form, and she is stabbed by Alexia. Marius demands to know Eve's location, but Selene insists she does not know; Alexia confirms this after tasting blood from her sword. Marius sounds the retreat. Selene deliberately slides herself under the now broken ice of the lake, telling herself that this is the 'path'. 
Question: What are the first names of the people who take refuge at the Nordic Coven?

A: David.
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Q: 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?

A: Viñes.
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Q: Passage: The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière. 
Question: What is the full name of the person who referred to Ingres throughout his career?

A:
Pablo Picasso.
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