instruction:
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.
question:
Passage: Handel's earliest opera compositions, in the German style, date from his Hamburg years, 1704–06, under the influence of Johann Mattheson. In 1706 he traveled to Italy where he remained for three years, developing his compositional skills. He first settled in Florence where he was introduced to Alessandro and Domenico Scarlatti. His first opera composed in Italy, though still reflecting the influence of Hamburg and Mattheson, was Rodrigo (1707, original title Vincer se stesso ê la maggior vittoria), was presented there. It was not particularly successful, but was part of Handel's process of learning to compose opera in the Italian style and to set Italian words to music.Handel then spent time in Rome, where the performance of opera was forbidden by Papal decree, and in Naples. He applied himself to the composition of cantatas and oratorios; at that time there was little difference (apart from increasing length) between cantata, oratorio and opera, all based on the alternation of secco recitative and aria da capo. Works from this period include Dixit Dominus and the dramatic cantata Aci, Galatea e Polifemo, written in Naples. While in Rome, probably through Alessandro Scarlatti, Handel had become acquainted with Cardinal Grimani, a distinguished diplomat who wrote libretti in his spare time, and acted as an unofficial theatrical agent for the Italian royal courts. He was evidently impressed by Handel and asked him to set his new libretto, Agrippina. Grimani intended to present this opera at his family-owned theatre in Venice, the Teatro San Giovanni Grisostomo, as part of the 1709–10 Carnevale season.
answer:
What is the name of the person that traveled to Italy in 1706?


question:
Passage: In 1952 the LPO negotiated a five-year contract with Decca Records, which was unusually rewarding for the orchestra, giving it a 10 per cent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was an avowed member of the Communist party; when the cold war began some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post.  A later writer, Richard Witts, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the Royal Festival Hall.In 1953 Boult once again took charge of the orchestral music at a coronation, conducting an ensemble drawn from UK orchestras at the coronation of Elizabeth II. During the proceedings, he conducted the first performances of Bliss's Processional and Walton's march Orb and Sceptre.  In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed: The Times found a Brahms symphony "rather colourless, imprecise and uninspiring", but praised Boult and the orchestra's performance of The Planets. In the same year the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Royal Albert Hall in which Boult was joined by guest conductors including Paul Kletzki, Jean Martinon,  Hans Schmidt-Isserstedt, Georg Solti, Walter Susskind and Vaughan Williams.In 1956 Boult and the LPO visited Russia. Boult had not wished to go on the tour because flying hurt his ears, and long land journeys hurt his back. The Soviet authorities threatened to cancel the tour if he did not lead it, and he felt obliged to go. The LPO gave nine concerts in Moscow and four in Leningrad.  Boult's assistant conductors were Anatole Fistoulari and George Hurst. Boult's four Moscow programmes included Vaughan Williams's Fourth and Fifth Symphonies, Holst's The Planets, Walton's Violin Concerto (with Alfredo Campoli as soloist), and Schubert's Great C major Symphony. While in Moscow, Boult and his wife visited the Bolshoi Opera and were guests at the composer Dmitri Shostakovich's 50th birthday party.After the Russian tour, Boult told the LPO that he wished to step down from the principal conductorship. He continued to be the orchestra's main conductor until his successor William Steinberg took up the post in 1959.  After the sudden resignation of Andrzej Panufnik from the City of Birmingham Symphony Orchestra (CBSO), Boult returned as principal conductor of the CBSO for the 1959–60 season. That was his last chief conductorship, though he remained closely associated with the LPO as its president and a guest conductor until his retirement.
answer:
What is the name of the orchestra to whose funds Bould always contributed his share of the recording fees?


question:
Passage: The Royal College of Music commissioned an official portrait of the composer from Sir Gerald Kelly (1952) which hangs in the college. The Manchester Art Gallery has a bronze sculpture of Vaughan Williams by Epstein (1952) and the National Portrait Gallery (NPG) has drawings by Joyce Finzi (1947) and Juliet Pannett (1957 and 1958); versions of a bronze head of the composer by David McFall (1956) are in the NPG and at the entrance to the Music reading room of the British Library. There is a statue of Vaughan Williams in Dorking, and a bust in Chelsea Embankment Gardens, near his old house in Cheyne Walk.In 1994 a group of enthusiasts founded the Ralph Vaughan Williams Society, with the composer's widow as its president and Roy Douglas and Michael Kennedy as vice presidents. The society, a registered charity, has sponsored and encouraged performances of the composer's works including complete symphony cycles and a Vaughan Williams opera festival. The society has promoted premieres of neglected works, and has its own record label, Albion Records.Composers of the generation after Vaughan Williams reacted against his style, which became unfashionable in influential musical circles in the 1960s; diatonic and melodic music such as his was neglected in favour of atonal and other modernist compositions. In the 21st century this neglect has been reversed. In the fiftieth anniversary year of his death two contrasting documentary films were released: Tony Palmer's O Thou Transcendent: The Life of Vaughan Williams and John Bridcut's The Passions of Vaughan Williams. British audiences were prompted to reappraise the composer. The popularity of his most accessible works, particularly the Tallis Fantasia and The Lark Ascending increased, but a wide public also became aware of what a reviewer of Bridcut's film called "a genius driven by emotion". Among the 21st-century musicians who have acknowledged Vaughan Williams's influence on their development are John Adams, PJ Harvey, Sir Peter Maxwell Davies, Anthony Payne, Wayne Shorter, Neil Tennant and Mark-Anthony Turnage.The Clements Park development, located in Warley, Brentwood, Essex, has roads taking their names after the composer and his works, the most obvious being the main road "Vaughan Williams Way" which runs through the development. Vaughan Williams lectured in Brentwood on folk music, and collected 140 songs from villages in the region.
answer:

Who had a house in Cheyne Walk?