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.

Input: Consider Input: Passage: The film begins at Heathrow Airport, where a Polish immigrant named Lena Malley is working a shift as a cleaner. While there, her colleague Birdie helps her to clean the toilets. The two begin to talk and Lena reveals that she lives alone and doesn't keep in touch with her family. Birdie introduces Lena to her adopted brother Elbie, who also works at the airport and is a mute. Lena tells Birdie that she doesn't get on with her family. While talking, Lena notices scars on Birdie's arm; Birdie explains that she used to have behavioral problems; but that she's better now. At the end of the shift Lena misses her bus so Birdie tells her that her dad will drive Lena home if they walk to Birdie's house.
Upon arriving at the house Lena is knocked out from behind and injected with a syringe. She wakes up tied to a chair to the sound of screaming coming from another room. Moments later Mum and Dad enter the room and introduce themselves. Mum tells Lena that if she does what she is told everything will be ok. Lena is unable to respond because of the injection she received earlier and Mum proceeds to inject her with a sedative. When she wakes up again Mum begins carving marks into her back. 
Lena is unable to speak, and Mum tells her to not try to talk. She gives Lena another injection, and Lena falls asleep. She wakes up later, tied to a frame. Mum tells her that she wanted another girl to come and live there. Mum then pierces Lena's skin with some metal and carves some marks into her back. Following this incident Lena is taken to see Dad who tells her that in his house she will follow his rules
At breakfast, the family are watching pornography. Lena makes an escape attempt but Dad grabs her and Elbie drags her back to the table. 
Question: Who walks to Birdie's house?

Output: Birdie.


Input: Consider Input: Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.
 While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Façade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László, had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory. 
Question: What is the name of the piece that was staged in San Francisco, New York and Milan but reportedly failed to make a positive impression?

Output: Troilus and Cressida.


Input: Consider Input: Passage: Nielsen wrote three concertos: the Violin Concerto, Op. 33 is a middle-period work, from 1911, which lies within the tradition of European classicism, whereas the Flute Concerto (without opus number) of 1926 and the Clarinet Concerto, Op. 57 which followed in 1928 are late works, influenced by the modernism of the 1920s and, according to the Danish musicologist Herbert Rosenberg, the product of "an extremely experienced composer who knows how to avoid inessentials." Unlike Nielsen's later works, the Violin Concerto has a distinct, melody-oriented neo-classical structure. The Flute Concerto, in two movements, was written for the flautist Holger Gilbert-Jespersen, a member of the Copenhagen Wind Quintet which had premiered Nielsen's Wind Quintet (1922). In contrast to the rather traditional style of the Violin Concerto, it reflects the modernistic trends of the period. The first movement, for example, switches between D minor, E-flat minor and F major before the flute comes to the fore with a cantabile theme in E major. The Clarinet Concerto was also written for a member of the Copenhagen Wind Quintet, Aage Oxenvad. Nielsen stretches the capacities of instrument and player to the utmost; the concerto has just one continuous movement and contains a struggle between the soloist and the orchestra and between the two principal competing keys, F major and E major.The wind concertos present many examples of what Nielsen called objektivering ("objectification"). By this term he meant giving instrumentalists freedom of interpretation and performance within the bounds set out by the score. 
Question: What two Quintets did Holger Gilbert-Jespersen play?


Output: Copenhagen Wind Quintet.