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.

Q: 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.

A: What is the name of the person that traveled to Italy in 1706?
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Q: Passage: Broadway, New Year's Eve, 1928. A muckraking reporter, Waldo Winchester, frames four major stories during the wild New Year's Eve of 1928.
We meet the players in a diner. The Brain, a gangster with multiple girlfriends, is accompanied by a gambler named Regret (after the only horse he ever placed a winning bet) and an outsider who (with his bloodhounds) is being treated to a meal. Feet Samuels (so named because of his big feet) is in love with a showgirl named Hortense Hathaway, who is tossed out of the diner because of an unsavory reputation. Feet plans to have one wild night before committing suicide, having sold his body in advance to a medical doctor.
Harriet MacKyle, a sheltered but friendly socialite, makes arrangements with a smooth-talking fixer for a big party that night at her estate, where many of the players will later attend. She has an interest in the exciting but dangerous criminal element. A girl selling flowers comes in after Feet makes a full payment of a debt to the Brain, so the Brain offers $5 for a 5-cent flower, telling her to keep the change. But before he can leave, a hitman for the Brooklyn Mob stabs him.  The wounded Brain tells his men to take him "home." Unfortunately, his many girlfriends refuse to allow him in for various reasons.
Feet gets involved in a high-stakes craps game. With considerable luck, he wins a massive payoff of money and jewelry.  Regret suggests they find another game, but Feet reveals his plan to kill himself.  Regret tries to talk him out of it, but Feet, sworn to see his last promise fulfilled, is adamant. Regret dials up the reporter, who is now at MacKyle's party, and asks him to talk to Hortense (his niece) and get her to realize Feet is smitten with her.
Hortense must try to persuade Feet that she wants to quit her life as a lounge singer, move to New Jersey and raise a family. Regret, meanwhile, continues to be the world's unluckiest gambler, but showgirl Lovey Lou is in love with him anyway.

A: What is the nickname of the person that is stabbed by a hitman?
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Q: Passage: The style that emerged from Tippett's long compositional apprenticeship was the product of many diverse influences. Beethoven and Handel were initial models (Handel above Bach, who in Tippett's view lacked drama), supplemented by 16th- and 17th-century masters of counterpoint and madrigal—Thomas Weelkes, Monteverdi and Dowland. Purcell became significant later, and Tippett came to lament his ignorance of Purcell during his RCM years: "It seems to me incomprehensible now that his work was not even recommended in composition lessons as a basic study for the setting of English".Tippett recognised the importance to his compositional development of several 19th- and 20th-century composers: Berlioz for his clear melodic lines, Debussy for his inventive sound, Bartók for his colourful dissonance, Hindemith for his skills at counterpoint, and Sibelius for his originality in musical forms.  He revered Stravinsky, sharing the Russian composer's deep interest in older music. Tippett had heard early ragtime as a small child before the  First World War; he noted in his later writings that, in the early years of the 20th century, ragtime and jazz "attracted many serious composers thinking to find ... a means to refresh serious music by the primitive". His  interest in these forms led to his fascination with blues, articulated in several of his later works. Among his contemporary composers, Tippett admired Britten and shared his desire to end the perception of English music as provincial. He also had a high regard for Alan Bush, with whom he joined forces to produce the 1934 Pageant of Labour. "I can remember the excitement I felt when he outlined to me his plan for a major string quartet".Although influences of folk music  from all parts of the British Isles are evident in Tippett's early works, he was  wary of the English folksong revival of the early 20th century, believing that much of the music presented as "English" by Cecil Sharp and his followers originated elsewhere. Notwithstanding his doubts, Tippett took some inspiration from these  sources. The composer David Matthews writes of  passages in Tippett's music which "evoke the 'sweet especial rural scene' as vividly as Elgar or Vaughan Williams ... perhaps redolent of the Suffolk landscape with its gently undulating horizons, wide skies and soft lights".

A:
What is the last name of the person who revered Stravinsky?
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