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: Chrismansyah Rahadi ([xrisˈmanʃah raˈhadi]; 16 September 1949 – 30 March 2007), born Christian Rahadi but better known by his stage name of Chrisye ([xəˈriʃə]), was an Indonesian progressive pop singer and songwriter. In his 40-year career he won many awards and accolades; in 2011 Rolling Stone Indonesia declared him the third-greatest Indonesian musician of all time.
Born in Jakarta of mixed Chinese-Indonesian descent, Chrisye became interested in music at an early age. At high school he played bass guitar in a band he formed with his brother, Joris. In the late 1960s he joined Sabda Nada (later Gipsy), a band led by his neighbours, the Nasutions. In 1973, after a short hiatus, he rejoined the band to play in New York for a year. He briefly returned to Indonesia and then went back to New York with another band, the Pro's. After once again returning to Indonesia, he collaborated with Gipsy and Guruh Sukarnoputra to record the 1976 indie album Guruh Gipsy.
Following the success of Guruh Gipsy, in 1977 Chrisye recorded two of his most critically acclaimed works: "Lilin-Lilin Kecil" by James F. Sundah, which eventually became his signature song, and the soundtrack album Badai Pasti Berlalu. Their success landed him a recording contract with Musica Studios, with whom he released his first solo album, Sabda Alam, in 1978. Over his almost 25-year career with Musica he recorded a further eighteen albums, and in 1980 acted in a film, Seindah Rembulan. Chrisye died in his Jakarta home on 30 March 2007 after a long battle with lung cancer.
Known for his stiff stage persona and smooth vocals, Chrisye was critically acclaimed in Indonesia. Five albums to which he contributed were included in Rolling Stone Indonesia's list of the 150 Best Indonesian Albums of All Time; another four of his songs (and a fifth to which he contributed) were classified as some of the best Indonesian songs of all time in a later issue of the same magazine. Several of his albums received certification of silver or gold. He received two lifetime achievement awards, one in 1993 from the BASF Awards and another posthumously in 2007 from Indonesian television station SCTV. 
Question: What is the stage name of the person who joined Sabda Nada in the late 1960s?

A: Chrisye.
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Q: Passage: In Reno, Nevada, Roslyn Tabor is a 30-year-old woman who has just filed for a quickie six-week divorce from her inattentive husband Raymond. After leaving the Washoe County Courthouse, Roslyn ignores Raymond's attempts to talk to her, and meets with her best local friend and landlord, Isabelle Steers, who is also a divorcee. Isabelle takes Roslyn to a bar at Harrah's Reno for drinks to let the reality of her divorce sink in. While there, they meet an aging cowboy named Gaylord 'Gay' Langland and his tow truck driver friend Guido. They invite Roslyn and Isabelle to Guido's old house in the Nevada country to help her forget about the divorce, after Gay tells Roslyn that he is also divorced. They arrive at the unfinished house Guido built for his late wife, who died several years earlier during childbirth. They drink and dance. Roslyn has too much to drink, so Gay drives her home to Reno.
Eventually, Roslyn and Gay move into Guido's half-finished house and start to work on it. One day after breakfast, Gay tells Roslyn how he wishes he were more of a father to his own children, whom he has not seen for some years. Later that afternoon, Roslyn and Gay argue when Gay states his intention to find and kill the rabbits which have been eating the vegetable garden they planted outside Guido's house. 
Question: What are the first names of the people who arrived at the unfinished house?

A: Roslyn.
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Q: Passage: Despite the positive reception accorded to L'Arianna at its premiere, the duke did not request a second showing, as he had with L'Orfeo the previous year". The next hint of a performance of L'Arianna is in 1614, when the Medici court in Florence requested a copy of the score, presumably with the intention of staging it. There is, however, no record of any such performance there. Early in 1620 Striggio asked Monteverdi to send him the music for a projected performance in Mantua as part of the celebration for the Duchess Caterina's birthday. Monteverdi went to the trouble and expense of preparing a new manuscript with revisions; had he had more time, he informed Striggio, he would have revised the work more thoroughly. Hearing nothing further from the Mantuan court, Monteverdi wrote to Striggio on 18 April 1620, offering to help with the staging. A month or so later, however, he learned that the duchess's celebrations had been scaled back, and that there had been no performance of L'Arianna.There is some evidence to suggest a possible performance in Dubrovnik, in or some time after 1620; a Croatian translation of the libretto was published in Ancona in 1633. However, the only known revival of the work came in Venice, in 1640. Public theatre opera had come to the city in March 1637, when the new Teatro San Cassiano opened with a performance of L'Andromeda by Francesco Manelli. The popularity of this and other works led to more theatres converting their facilities for opera; L'Arianna was chosen to inaugurate the Teatro San Moisè as an opera house during the 1639–40 Carnival (the precise date of this performance is not recorded). A revised version of the libretto had been published in 1639, with substantial cuts and revisions from the 1608 version to remove passages too specifically linked to the Mantuan wedding. The composer, who was by then 73 years old, had acquired considerable prestige in Venice, having been director of music at St Mark's Basilica since 1613. The dedication in the revised and republished libretto describes him as "[the] most celebrated Apollo of the century and the highest intelligence of the heavens of humanity".  The opera was received with great enthusiasm by a Venetian audience already familiar with the lament, which had been published in the city in 1623. Within a few weeks the theatre replaced L'Arianna with Monteverdi's new opera Il ritorno d'Ulisse in patria, which proved an even greater success. 
Question: What is the name of the 73 year old composer who had acquired considerable prestige in Venice?

A:
Monteverdi.
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