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.
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Question: Passage: After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career". 
Question: What disease killed the father of the man who debuted with Covent Garden in London?

Answer: diabetes.


Question: Passage: Oviri (Tahitian for savage or wild) is an 1894 ceramic sculpture by the French artist Paul Gauguin. In Tahitian mythology, Oviri was the goddess of mourning. She is shown with long pale hair, and wild eyes, smothering a wolf with her feet, while clutching a cub in her arms. Art historians have presented multiple interpretations—usually that Gauguin intended it as an epithet to reinforce his self-image as a "civilised savage". Tahitian goddesses of her era had passed from folk memory by 1894, yet Gauguin romanticises the island's past as he reaches towards more ancient sources, including an Assyrian relief of a "master of animals" type, and Majapahit mummies. Other possible influences include preserved skulls from the Marquesas Islands, figures found at Borobudur, and a 9th-century Mahayana Buddhist temple in central Java.
Gauguin made three casts, each in partially glazed stoneware, and while several copies exist in plaster or bronze, the original cast is in the Musée d'Orsay.  His sales of the casts were not successful, and at a low financial and personal ebb he asked for one to be placed on his grave. There are only three other surviving comments of his on the figure: he described the figure as a strange and cruel enigma on an 1895 presentation mount of two impressions of a woodcut of Oviri for Stéphane Mallarmé; he referred to it as La Tueuse ("The Murderess") in an 1897 letter to Ambroise Vollard; and he appended an inscription referencing Honoré de Balzac's novel Séraphîta in a c. 1899 drawing. Oviri was exhibited at the 1906 Salon d'Automne (no. 57) where it influenced Pablo Picasso, who based one of the figures in Les Demoiselles d'Avignon on it. 
Question: What is the first name of the person who romanticises the island's past as he reaches towards more ancient sources?

Answer: Paul.


Question: Passage: An enchantress disguised as a beggar arrives at a French castle and offers a cruel and selfish prince a rose in return for shelter. When he refuses, she reveals her identity. To punish the prince for his lack of compassion, the enchantress transforms him into a beast and his servants into household objects. She casts a spell on the rose and warns the prince that the curse will only be broken if he learns to love another, and earn their love in return, before the last petal falls on his 21st birthday.
Ten years later, in a nearby village, a beautiful, young, book-loving woman named Belle dreams of adventure and brushes off advances from Gaston, a handsome, narcissistic and arrogant hunter. On his way to a fair and lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him. When Maurice's horse returns without him, Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.
Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them. Meanwhile, Maurice returns to the village and fails to convince the townsfolk of Belle's predicament. Gaston then bribes Monsieur D'Arque, the warden of the town's insane asylum to have Maurice locked up if Belle refuses to marry Gaston. 
Question: Who rescues the young woman?

Answer:
the Beast.