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.

[Q]: Passage: Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saëns "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.". 
Question: What were the names of the five models Saint-Saëns forged his own style from?
[A]: Handel.


[Q]: Passage: Writing after the fall of Nojpetén, friar Cano described the ultimate fate of Díaz de Velasco and his companions; he claimed to have received the information from interviews with the soldiers from Yucatán who had stormed the Itza capital and from Chʼol witnesses, although there were no Chʼol at Nojpetén. Díaz's party arrived at the lakeshore and were told by local Itza that Franciscan friars were at Nojpetén. They were wary at first and asked for proof, upon which an Itza messenger brought them a rosary as a token. Looking across the lake they saw men dressed as friars calling to them to come across, these were Itza dressed in the habits of the two Franciscans who had recently been killed at the island. Díaz and his companions then boarded the Itza canoes, leaving thirty Maya porters with their mules and supplies.Once on the lake the Itza overturned some of the canoes and killed some of Díaz's men; others were wounded and dragged ashore to be killed. Díaz, the Dominicans and two other men were in a large canoe that was not overturned and were taken to Nojpetén where a fierce struggle ensued as Díaz attempted to defend himself with his sword, killing several Itzas. The two other men were immediately killed while the friars were beaten and tied to X-shaped crosses before having their hearts cut out. Across the lake, the Itza attacked the porters guarding the expedition supplies and killed all of them. The Itza killed a total of 87 expedition members, including 50 soldiers, two Dominicans and about 35 Maya helpers. The remains of the small group that were killed on Nojpetén were later retrieved by the Spanish after the fall of the city and were taken back to Santiago de los Caballeros de Guatemala for burial. 
Question: What is the first name of the leader of the party that were wary at first and asked for proof?
[A]: Díaz.


[Q]: Passage: Sydney Morning Herald commentator Bernard Zuel described Dream Days at the Hotel Existence as Powderfinger's first dull album, noting that on numerous songs "It promises to become exciting but never quite gets there." He complained that most of the songs were uneventful, or uninspiring, and that they do not "lift you as a listener." PerthNow's Jay Hanna disagreed, claiming the album was "rippling with emotions". He said the album contained some "incredible moments", praising "Head Up in the Clouds", and calling "Nobody Sees" "Powderfinger at their devastating best", while giving the album four stars.Cameron Adams of Herald Sun HiT stated that the album contained no new directions for the band, and was highly consistent. He noted that the album contained less "rough edges and attitude" than predecessor Vulture Street, and likening the album more to Odyssey Number Five. Sputnikmusic's James Bishop agreed, claiming the band should be concerned by the "lack of experimentation or ambition" on the album. He again stated that the album was consistent, noting that "there actually isn't a bad song present". The review, which gave the album three and a half stars, commented that it seemed the band were trying to move towards the bluegrass genre, and "edging their way into the adult-contemporary section" of a music store, something they had not shown on their previous works.AllMusic's Clayton Bolger drew comparisons to Internationalist in his review, which gave the album 3 and a half stars. He said the album contained "all the trademarks of classic Powderfinger", praising Fanning's vocals, Middleton and Haug's "twin-guitar attack", Collins' basslines and Coghill's "powerhouse drum work". While praising "I Don't Remember" as an excellent anthem, and "Surviving" for containing "a sonic blast of rock", he was critical of "Lost and Running", which he said felt "tired and sluggish", while "Ballad of a Dead Man" was described as "tedious". 
Question: What is the name of the song that the critic from AllMusic believed was "a sonic blast of rock"?
[A]:
Surviving.