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: As the British fleet closed with the opposing combined fleets of France and Spain, Lord Nelson signalled all the necessary battle instructions to his ships. Aware of the momentousness of events to come, Lord Nelson felt that something extra was required. He instructed his signal officer, Lieutenant John Pasco, to signal to the fleet, as quickly as possible, the message "England confides that every man will do his duty." Pasco suggested to Nelson that expects be substituted for confides (i.e. is confident), since the former word was in the signal book, whereas confides would have to be spelt out letter-by-letter. Nelson agreed to the change (even though it produced a less trusting impression):
His Lordship came to me on the poop, and after ordering certain signals to be made, about a quarter to noon, he said, 'Mr. Pasco, I wish to say to the fleet, ENGLAND CONFIDES THAT EVERY MAN WILL DO HIS DUTY' and he added 'You must be quick, for I have one more to make which is for close action.' I replied, 'If your Lordship will permit me to substitute the confides for expects the signal will soon be completed, because the word expects is in the vocabulary, and confides must be spelt,' His Lordship replied, in haste, and with seeming satisfaction, 'That will do, Pasco, make it directly.'
Thus, at around 11:45 a.m. on 21 October 1805, the signal was sent. The exact time the signal was sent is not known (one account puts it as early as 10:30), as the message was repeated throughout the fleet, but Pasco puts it at "about a quarter to noon" and logs from other ships of the line also put it close to this time.
[A]: Whose ships were signalled all the necessary battle instructions?


[Q]: Passage: In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings.Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road.
[A]: What is the last name of the person that did not like orchestral concerts?


[Q]: Passage: The main sources for the story told in Busenello's libretto are the Annals of Tacitus; book 6 of Suetonius's history The Twelve Caesars; books 61–62 of Dio Cassius's Roman History; and  an anonymous play Octavia (once attributed to the real life Seneca), from which the opera's fictional nurse characters were derived. The main story is based on real people  and   events. According to the analyst Magnus Schneider, the character of Drusilla was taken from Girolamo Bargagli's 16th-century comedy The Pilgrim Woman.Busenello condensed historical events from a seven-year period (AD 58 to AD 65) into a single day's action, and imposed his own sequence. He was open about his intention to adapt history for his own purposes, writing in the preface to his libretto that "here we represent these actions differently." Thus he gave his characters different attributes from those of their historical counterparts: Nerone's cruelty is downplayed; the wronged wife Ottavia is presented as a murderous plotter; Seneca, whose death in reality had nothing to do with Nerone's liaison with Poppea, appears as more noble and virtuous than he was; Poppea's motives are represented as based on genuine love as much as on a lust for power; the depiction of Lucano as a drunken carouser disguises the real life poet Lucan's status as a major Roman poet with marked anti-imperial and pro-republican tendencies.The libretto has survived in numerous forms—two printed versions, seven manuscript versions or fragments, and an anonymous scenario, or summary, related to the original production. One of the printed editions relates to the opera's 1651 Naples revival; the other is Busenello's final version published in 1656 as part of a collection of his libretti. The manuscripts are all from the 17th century, though not all are specifically dated; some are "literary" versions unrelated to performances. The most significant of the manuscript copies is that discovered in Udine, Northern Italy, in 1997 by Monteverdi scholar Paolo Fabbri. This manuscript, according to music historian Ellen Rosand, "bristles with the immediacy of a performance", and is the only copy of the libretto that mentions Monteverdi by name. This, and other descriptive details missing from other copies, leads Rosand to speculate that the manuscript was copied during the course of a performance. This impression is reinforced, she says, by the inclusion of a paean of praise to the   singer (Anna di Valerio according to Schneider) who played the role of Poppea. Although its dating is uncertain, the manuscript's affinity with the original scenario has led to speculation that the Udine version may have been compiled from the first performance.
[A]:
What is the last name of the music historian that said the manuscript discovered in Udine in 1997 "bristles with the immediacy of a performance"?