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: 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.
[A]: What is the name of the opera that the first of the "Grand Tunes" is "Recondita armonia"?


[Q]: Passage: Zandalee Martin is a young boutique store owner living in New Orleans who is sexually frustrated and feeling unfulfilled with her marriage to Thierry Martin, and eventually gets tangled in a passionate, sensual and torrid iadulterous affair with her husband's mysterious and free spirited old friend Johnny Collins. Zandalee and Thierry's marriage has hit a snag and seems to be eroding due to his lack of passion. 
Zan needs to explore, while Thierry wants to withdraw, and has become more and more distant and impotent in their relationship. He used to be a poet, but now has taken over the family's communications business after the death of his father. As time goes on, Thierry has to sell the business and become basically a (vice president) figurehead. He is emotionally adrift as his dreams give way to disillusionment.
Johnny, an artist painter by trade, has been working for Thierry's business to help support his paintings. His only religion is self-gratification. Johnny also sells and mules cocaine for a local drug dealer as another source of income for himself. Having not seen each other in a while, the two run into each other at a bachelor's party. After the party, Thierry brings Johnny home to meet Zandalee and his grandmother Tatta. While talking about old times, Johnny offers to paint a portrait of Thierry at their home.
[A]: What does Johnny's affair partner do for a living?


[Q]: Passage: At 53°27′46″N 2°25′54″W (53.4629, -2.4316), Chat Moss lies at the southern edge of the Lancashire Plain, an area of Bunter sandstones overlaid with marls laid down during the Late Triassic period. Those rocks are themselves overlaid by a layer of boulder clay deposited during the last ice age, about 10,000 years ago. The combination of the flat topography and the underlying clay resulted in extensive peat bogs developing along the Mersey Valley, and overflowing beyond the valley. The bogs in the area between the River Glaze in the west, and Worsley and Eccles in the east, to the north of what was the River Irwell – now the Manchester Ship Canal – are known collectively as Chat Moss.
Chat Moss is a lowland raised bog. In areas where drainage is poor, water-logging can slow down plant decomposition, producing peat, which over the years can raise the level of the bog above that of the surrounding land. The moss occupies an area of about 10.6 square miles (27.5 km2), and is about 5 miles (8 km) long, about 2.5 miles (4.0 km) across at its widest point, lying 75 feet (23 m) above sea level. Chat Moss lies mainly in Salford, but extends into Wigan. By the 1990s, an estimated 72 per cent of the bog had been reclaimed, most of it for agriculture. About 230 acres (93 ha) of degraded bog remain, with 766 acres (310 ha) of undamaged peat deposits in four former peat extraction sites. The peat varies in depth between 24 feet (7 m) and 30 feet (9 m).The main bog mosses found in the peat of Chat Moss are Sphagnum cuspidatum, S. imbricatum, and S. acutifolia. The peat up to about 7 feet (2 m) from the surface is mainly humidified S. acutifolia, with fresher S. imbricatum peat nearer the surface.A 228-acre (92 ha) area of Chat Moss, to the north of the Liverpool–Manchester railway line, notified as Astley & Bedford Mosses, was designated a Site of Special Scientific Interest in 1989. Astley & Bedford Mosses, along with Risley Moss and Holcroft Moss, is also a European Union designated Special Area of Conservation, known as Manchester Mosses.The major habitats in the moss are bog, heathland, woodland and acidic grassland, subject to varying degrees of wetness depending on the local drainage. The remaining areas of bog are dominated by common cottongrass Eriophorum angustifolium and.
[A]:
What are the major habitats of the location that lies at the southern edge of Lancashire Plain?