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.

Passage: The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously.After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then unpublished Mass of 1880. The final scene in the act is a juxtaposition of the sacred and the profane, as Scarpia's lustful reverie is sung alongside the swelling Te Deum chorus. He joins with the chorus in the final statement "Te aeternum Patrem omnis terra veneratur" ("Everlasting Father, all the earth worships thee"), before the act ends with a thunderous restatement of the Scarpia motif.
What is the name of the opera that the first of the "Grand Tunes" is "Recondita armonia"?

Passage: In 1861 Saint-Saëns accepted his only post as a teacher, at the École de Musique Classique et Religieuse, Paris, which Louis Niedermeyer had established in 1853 to train first-rate organists and choirmasters for the churches of France. Niedermeyer himself was professor of piano; when he died in March 1861, Saint-Saëns was appointed to take charge of piano studies. He scandalised some of his more austere colleagues by introducing his students to contemporary music, including that of Schumann, Liszt and Wagner. His best-known pupil, Gabriel Fauré, recalled in old age:
After allowing the lessons to run over, he would go to the piano and reveal to us those works of the masters from which the rigorous classical nature of our programme of study kept us at a distance and who, moreover, in those far-off years, were scarcely known. ... At the time I was 15 or 16, and from this time dates the almost filial attachment ... the immense admiration, the unceasing gratitude I [have] had for him, throughout my life.
Saint-Saëns further enlivened the academic regime by writing, and composing incidental music for, a one-act farce performed by the students (including André Messager). He conceived his best-known piece, The Carnival of the Animals, with his students in mind, but did not finish composing it until 1886, more than twenty years after he left the Niedermeyer school.In 1864 Saint-Saëns caused some surprise by competing a second time for the Prix de Rome. Many in musical circles were puzzled by his decision to enter the competition again, now that he was establishing a reputation as a soloist and composer. He was once more unsuccessful. Berlioz, one of the judges, wrote:
We gave the Prix de Rome the other day to a young man who wasn't expecting to win it and who went almost mad with joy. We were all expecting the prize to go to Camille Saint-Saëns, who had the strange notion of competing. I confess I was sorry to vote against a man who is truly a great artist and one who is already well known, practically a celebrity. But the other man, who is still a student, has that inner fire, inspiration, he feels, he can do things that can't be learnt and the rest he'll learn more or less. So I voted for him, sighing at the thought of the unhappiness that this failure must cause Saint-Saëns. But, whatever else, one must be honest.
What is the first name of the man who scandalised some of his more austere colleagues by introducing his students to contemporary music.?

Passage: In the South Seas, a volcano explodes, eventually causing North Pole icebergs to shift. Below the melting polar ice caps, a 200-foot-long praying mantis, trapped in the ice for millions of years, begins to stir.  Soon after, the military personnel at Red Eagle One, a military station in northern Canada that monitors information gathered from the Distant Early Warning Line, realize that the men at one of their outposts are not responding to calls.  Commanding officer Col. Joe Parkman flies there to investigate, and finds the post destroyed, its men gone, and giant slashes left in the snow outside.
When a radar blip is sighted, Joe sends his pilots out to investigate, but their intended target disappears. Soon an Air Force plane is attacked by the deadly mantis.  He searches the wreckage, and this time, in addition to the huge slashes, finds a five-foot-long pointed object in the snow.  He takes it to General Mark Ford at the Continental Air Defense in Colorado Springs, Colorado.  Ford gathers top scientists, including Professor Anton Gunther, to examine the object, but when they cannot identify it, Gunther recommends calling in Dr. Nedrick Jackson, a paleontologist at the Museum of Natural History.
When Ned gets the call from Ford, he is helping museum magazine editor Marge Blaine plan her next issue, and dodges her questions as she begs him for a big scoop.  Later, after examining the object, Ned recognizes it as a torn-off spur from an insect's leg, and soon guesses, from evidence that the creature ate human flesh, that it must be a gigantic praying mantis.  Meanwhile, in the Arctic, the people of an Eskimo village spot the mantis in the sky, and although they hurry to their boats to escape, it swoops down and kills several men.

Who found a five-foot-long pointed object in the snow?