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: The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured Zulma Bouffar, who was perhaps the librettists' preferred choice. She had sung leading roles in many of Offenbach's operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to Marie Roze, well known for previous triumphs at the Opéra-Comique, the Opéra and in London. She refused the part when she learned that she would be required to die on stage. The role was then offered to Célestine Galli-Marié, who agreed to terms with du Locle after several months' negotiation. Galli-Marié, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal.The leading tenor part of Don José was given to Paul Lhérie, a rising star of the Opéra-Comique who had recently appeared in works by Massenet and Delibes. He would later become a baritone, and in 1887 sang the role of Zurga in the Covent Garden premiere of Les pêcheurs de perles. Jacques Bouhy, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Méphistophélès in Gounod's Faust and as Mozart's Figaro. Marguerite Chapuy, who sang Micaëla, was at the beginning of a short career in which she was briefly a star at London's Theatre Royal, Drury Lane; the impresario James H. Mapleson thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return. 
Question: What is the full name of the person who Mapleson thought to be "one of the most charming vocalists" it had ever been his pleasure to know?

Answer: Marguerite Chapuy.


Question: Passage: Too Much Too Soon received positive reviews from contemporary critics. Reviewing for Rolling Stone in 1974, Dave Marsh hailed the New York Dolls as the leading hard rock band in the US and noted what he felt was Nolan's competent drumming, Johansen's ability to add depth to his characters, and Thunders's innovative guitar playing. Marsh especially praised his playing on "Chatterbox", calling it "a classic", and believed even the most brazen songs sounded successful because Morton's production highlighted the group's more unrefined musical qualities. Writing for Creem magazine, Christgau said the polished sound reproduction preserved the band's raw qualities, especially in the case of Johansen's vocals and Nolan's drumming, and remarked that Rundgren "should be ashamed—Shadow Morton has gotten more out of the Dolls than they can give us live on any but their best nights." Robert Hilburn from the Los Angeles Times felt Too Much Too Soon was a better-produced album that proved the band to be "the real thing", calling it the best record of derisive punk rock since Exile on Main St. by the Rolling Stones in 1972. In The New Yorker, Ellen Willis wrote that she learned to appreciate Too Much Too Soon more than New York Dolls after seeing the band perform songs from the former album in concert, particularly "Human Being" and "Puss 'n' Boots", while Ron Ross from Phonograph Record magazine said the group's "easy going ironic sensibility" was expressed "far more amusingly and accessibly" here than on their debut album.Some reviewers were critical of Too Much Too Soon for what they felt was a poorly recorded and overproduced sound. In a negative review for NME, Nick Kent said it sounded cluttered and "shot through with unfulfilled potential", while Circus magazine panned the record as "cut after cut of annoying screeching". It was nonetheless voted the tenth best album of 1974 in the Pazz & Jop, an annual poll of American critics nationwide, published in The Village Voice. Willis, one of the critics polled, listed it as her fifth favorite record of the year. Christgau, the poll's creator and supervisor, named it third best, and in a decade-end list for The Village Voice, he named it the fourth best album of the 1970s. Los Angeles Times critic Richard Cromelin included it in his list of favorite records from the decade and wrote that Morton's production made it slightly better than New York Dolls. 
Question: What did Christgau, the poll's creator and supervisor, name third best?

Answer: Too Much Too Soon.


Question: Passage: Rolling Stone critic Alan di Perna praised Gilmour's guitar work as an integral to Pink Floyd's sound, and described him as the most important guitarist of the 1970s, "the missing link between Hendrix and Van Halen". Rolling Stone ranked Gilmour number 14 in their list of "100 Greatest Guitarists of All Time". In 2006, Gilmour said of his technique: "[My] fingers make a distinctive sound ... [they] aren't very fast, but I think I am instantly recognisable ... The way I play melodies is connected to things like Hank Marvin and the Shadows". Gilmour's ability to use fewer notes than most to express himself without sacrificing strength or beauty drew a favourable comparison to jazz trumpeter Miles Davis.In 2006, Guitar World writer Jimmy Brown described Gilmour's guitar style as "characterised by simple, huge-sounding riffs; gutsy, well-paced solos; and rich, ambient chordal textures." According to Brown, Gilmour's solos on "Money", "Time" and "Comfortably Numb" "cut through the mix like a laser beam through fog." Brown described the "Time" solo as "a masterpiece of phrasing and motivic development ... Gilmour paces himself throughout and builds upon his initial idea by leaping into the upper register with gut-wrenching one-and-one-half-step 'over bends', soulful triplet arpeggios and a typically impeccable bar vibrato." Brown described Gilmour's phrasing as intuitive, singling it out as perhaps his best asset as a lead guitarist. Gilmour explained how he achieved his signature tone: "I usually use a fuzz box, a delay and a bright EQ setting ... [to get] singing sustain ... you need to play loud—at or near the feedback threshold. It's just so much more fun to play ... when bent notes slice right through you like a razor blade.". 
Question: What is the name of the person that performs the "Time" solo?

Answer:
Gilmour.