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.

Input: Consider Input: Passage: Sir John Barbirolli, CH (2 December 1899 – 29 July 1970), né Giovanni Battista Barbirolli, was a British conductor and cellist. He is remembered above all as conductor of the Hallé Orchestra in Manchester, which he helped save from dissolution in 1943 and conducted for the rest of his life. Earlier in his career he was Arturo Toscanini's successor as music director of the New York Philharmonic, serving from 1936 to 1943. He was also chief conductor of the Houston Symphony from 1961 to 1967, and was a guest conductor of many other orchestras, including the BBC Symphony Orchestra, London Symphony Orchestra, the Philharmonia, the Berlin Philharmonic and the Vienna Philharmonic, with all of which he made recordings.
Born in London of Italian and French parentage, Barbirolli grew up in a family of professional musicians.  After starting out as a cellist, he was given the chance to conduct, from 1926 with the British National Opera Company, and then with Covent Garden's touring company. On taking up the conductorship of the Hallé he had less opportunity to work in the opera house, but in the 1950s he conducted productions of works by Verdi, Wagner, Gluck, and Puccini at Covent Garden with such success that he was invited to become the company's permanent musical director, an invitation he declined. Late in his career he made several recordings of operas, of which his 1967 set of Puccini's Madama Butterfly for EMI is probably the best known.
Both in the concert hall and on record, Barbirolli was particularly associated with the music of English composers such as Elgar, Delius and Vaughan Williams. His interpretations of other late romantic composers, such as Mahler and Sibelius, as well as of earlier classical composers, including Schubert, are also still admired.

Output: What was the name of the company that Barbirolli declined an invitation to become the music director?


Input: Consider Input: Passage: Adam, a medical student, is lured to a cabin far from civilization where he volunteers to be repeatedly killed and reanimated by Dr. Franklin Vick, through use of a mysterious serum. While "Subject Two" as he is initially successful, he begins to experience violent seizures and excruciating pain, begging Vick to kill him or committing suicide several times. Adam eventually gains complete immortality and near instantaneous regeneration, but as a consequence he loses the very sense of being alive; he can no longer feel things (including pain) and no longer can have emotions. His eyes turn snow white, and, to compensate for the gradual loss of his sense of self, he becomes violent and depressed, going so far as to kill a hunter that accidentally shoots him rather than risk him exposing the project. Eventually the student leaves Vick, only to become a walking ghost doomed to walk the earth for eternity. After returning home, "Vick" finds the real Dr. Franklin Vick, and it is revealed that the doctor for the course of the entire movie was his assistant, Subject One. Thinking that he had accidentally killed Dr. Vick, Subject One assumed his identity to continue the work, but finds that the serum was initially perfect, and it was only his tampering that gradually changed Adam. Dr. Vick scolds him before strangling him in a similar fashion to Adam, and thus begins the experiment cycle over again. It carries several obvious homages to Frankenstein but explores more the emotional effects of death and pseudo-life.

Output: Whose eyes turn snow white?


Input: Consider Input: Passage: On Bennett's return to London he took up a teaching post at the RAM which he held until 1858. During his second long stay in Germany, from October 1838 to March 1839, he played his Fourth Piano Concerto (Op. 19, in F minor) and the Wood Nymphs Overture, Op. 20. Returning to England, he wrote to his Leipzig publisher Friedrich Kistner in 1840, bemoaning the difference between England and Germany (and hoping that a German would redress the situation): You know what a dreadful place England is for music; and in London I have nobody who I can talk to about such things, all the people are mad with [Sigismond] Thalberg and [Johann] Strauss [I], and I have not heard a single Symphony or Overture in one concert since last June. I sincerely hope that Prince Albert ... will do something to improve our taste.
On Bennett's third trip, from January to March 1842, in which he also visited Kassel, Dresden and Berlin, he played his Caprice for piano and orchestra, Op. 22, in Leipzig. Despite his then-pessimistic view of music in England, Bennett missed his chance to establish himself in Germany. The musicologist Nicholas Temperley writes One might guess that the early loss of both parents produced in Bennett an exceptionally intense need for reassurance and encouragement. England could not provide this for a native composer in his time. He found it temporarily in German musical circles; yet, when the opportunity came to claim his earned place as a leader in German music, he was not quite bold enough to grasp it.


Output: Whose publisher was named Friedrich Kistner?