nc33/multispan_quoref huggingface dataset:
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.

Question: What other name did the Dr. Franklin Vick that used a serum on Adam go by?
Answer: Subject One
During a choir practice two days before Christmas, village organist Franz Gruber is worried to hear unusual sounds from the church organ and suspects the bellows. One of Gruber's sons discovers mice in the pipes of the organ and the mice have chewed up parts of the organ. Without the organ the church choir cannot perform the rehearsed Bach piece because the music was written to be performed with an organ.
Accompanied by both his sons, Gruber travels to Salzburg, hoping to buy spare parts and then mend the organ when returning to the village. The party is caught in a snow storm and the spare part is lost on the way home but pastor Joseph Mohr is simply thankful they are unharmed.
Pastor Mohr (with a little help from the bell-ringer Otto) writes the lyrics for a song and the next morning he brings it to Gruber, asking him to compose a melody for the lyrics. With some inspiration from his wife, Gruber sets music to Mohr's words. At church Gruber and Mohr presents "Silent Night" performed a cappella by the choir.

Question: Who are the people related to Franz in the party that is caught in a snow storm?
Answer: his sons
During a choir practice two days before Christmas, village organist Franz Gruber is worried to hear unusual sounds from the church organ and suspects the bellows. One of Gruber's sons discovers mice in the pipes of the organ and the mice have chewed up parts of the organ. Without the organ the church choir cannot perform the rehearsed Bach piece because the music was written to be performed with an organ.
Accompanied by both his sons, Gruber travels to Salzburg, hoping to buy spare parts and then mend the organ when returning to the village. The party is caught in a snow storm and the spare part is lost on the way home but pastor Joseph Mohr is simply thankful they are unharmed.
Pastor Mohr (with a little help from the bell-ringer Otto) writes the lyrics for a song and the next morning he brings it to Gruber, asking him to compose a melody for the lyrics. With some inspiration from his wife, Gruber sets music to Mohr's words. At church Gruber and Mohr presents "Silent Night" performed a cappella by the choir.

Question: What is the first name of the person that is asked to compose a melody?
Answer: Franz
Sue Fleming's suitcase opens by accident, dropping her clothes from a double-decker bus onto Norman Winthrop. She retrieves her belongings and enters the New York City bus terminal. Intrigued, he follows her and returns a garter belt she overlooked. Steve Borden, the man she is involved with, calls her on the phone (though he is also in the terminal) and tells her to buy a ticket to San Francisco. Afterward, she sees him with another woman. They board the bus too. Norman, who is supposed to go to San Francisco by train, decides to travel by bus instead. Murphy has orders from Norman's father to keep him away from women. To Murphy's satisfaction, Sue rebuffs Norman's initial attempts to become better acquainted.
May gives all her money to a friend, but manages to charm the bus driver, various relief drivers and Willy, a talkative, know-it-all passenger, into letting her ride for free.
When the bus stops in Poughkeepsie, Steve and Nita Borden prove to be con artists, selling bibles at inflated prices to those who have lost loved ones recently, claiming they were specially ordered by the deceased. Nita, suspecting what is going on, later chats with Sue and introduces her husband, Steve. A disgusted Sue breaks up with Steve.
She then makes a date with the persistent Norman at Niagara Falls. While Norman is getting ready, Murphy steals his clothes, but Norman goes with Sue to see the Falls wearing a raincoat provided by the tour company. When a tour employee demands the raincoat, Norman is shown to have only a bath towel on underneath. Norman arranges a candle-lit dinner for two in Chicago, but Murphy invites all the other passengers. When the bus later has engine trouble, the passengers go to a nearby carnival, where Norman challenges Sue to a bow and arrow contest; the prize, if he wins, is a kiss, but she proves to be a much better shot. Later, though, Sue finally lets him kiss her.

Question: What is the full name of the wife of the man Sue is involved with?
Answer: Nita Borden
Sue Fleming's suitcase opens by accident, dropping her clothes from a double-decker bus onto Norman Winthrop. She retrieves her belongings and enters the New York City bus terminal. Intrigued, he follows her and returns a garter belt she overlooked. Steve Borden, the man she is involved with, calls her on the phone (though he is also in the terminal) and tells her to buy a ticket to San Francisco. Afterward, she sees him with another woman. They board the bus too. Norman, who is supposed to go to San Francisco by train, decides to travel by bus instead. Murphy has orders from Norman's father to keep him away from women. To Murphy's satisfaction, Sue rebuffs Norman's initial attempts to become better acquainted.
May gives all her money to a friend, but manages to charm the bus driver, various relief drivers and Willy, a talkative, know-it-all passenger, into letting her ride for free.
When the bus stops in Poughkeepsie, Steve and Nita Borden prove to be con artists, selling bibles at inflated prices to those who have lost loved ones recently, claiming they were specially ordered by the deceased. Nita, suspecting what is going on, later chats with Sue and introduces her husband, Steve. A disgusted Sue breaks up with Steve.
She then makes a date with the persistent Norman at Niagara Falls. While Norman is getting ready, Murphy steals his clothes, but Norman goes with Sue to see the Falls wearing a raincoat provided by the tour company. When a tour employee demands the raincoat, Norman is shown to have only a bath towel on underneath. Norman arranges a candle-lit dinner for two in Chicago, but Murphy invites all the other passengers. When the bus later has engine trouble, the passengers go to a nearby carnival, where Norman challenges Sue to a bow and arrow contest; the prize, if he wins, is a kiss, but she proves to be a much better shot. Later, though, Sue finally lets him kiss her.

Question: What is the full name of the person that Sue makes a date with at Niagara Falls?
Answer: Norman Winthrop
Sue Fleming's suitcase opens by accident, dropping her clothes from a double-decker bus onto Norman Winthrop. She retrieves her belongings and enters the New York City bus terminal. Intrigued, he follows her and returns a garter belt she overlooked. Steve Borden, the man she is involved with, calls her on the phone (though he is also in the terminal) and tells her to buy a ticket to San Francisco. Afterward, she sees him with another woman. They board the bus too. Norman, who is supposed to go to San Francisco by train, decides to travel by bus instead. Murphy has orders from Norman's father to keep him away from women. To Murphy's satisfaction, Sue rebuffs Norman's initial attempts to become better acquainted.
May gives all her money to a friend, but manages to charm the bus driver, various relief drivers and Willy, a talkative, know-it-all passenger, into letting her ride for free.
When the bus stops in Poughkeepsie, Steve and Nita Borden prove to be con artists, selling bibles at inflated prices to those who have lost loved ones recently, claiming they were specially ordered by the deceased. Nita, suspecting what is going on, later chats with Sue and introduces her husband, Steve. A disgusted Sue breaks up with Steve.
She then makes a date with the persistent Norman at Niagara Falls. While Norman is getting ready, Murphy steals his clothes, but Norman goes with Sue to see the Falls wearing a raincoat provided by the tour company. When a tour employee demands the raincoat, Norman is shown to have only a bath towel on underneath. Norman arranges a candle-lit dinner for two in Chicago, but Murphy invites all the other passengers. When the bus later has engine trouble, the passengers go to a nearby carnival, where Norman challenges Sue to a bow and arrow contest; the prize, if he wins, is a kiss, but she proves to be a much better shot. Later, though, Sue finally lets him kiss her.

Question: What is the full name of the person who wins the bow and arrow contest?
Answer: Sue Fleming
Sir Georg Solti,  (born György Stern; 21 October 1912 – 5 September 1997) was a Hungarian-born orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra. Born in Budapest, he studied there with Béla Bartók, Leó Weiner and Ernő Dohnányi. In the 1930s, he was a répétiteur at the Hungarian State Opera and worked at the Salzburg Festival for Arturo Toscanini. His career was interrupted by the rise of the Nazis' influence on Hungarian politics, and being of Jewish background he fled the increasingly harsh Hungarian anti-Jewish laws in 1938. After conducting a season of Russian ballet in London at the Royal Opera House he found refuge in Switzerland, where he remained during the Second World War. Prohibited from conducting there, he earned a living as a pianist.
After the war, Solti was appointed musical director of the Bavarian State Opera in Munich in 1946. In 1952 he moved to the Oper Frankfurt, where he remained in charge for nine years. He took West German citizenship in 1953. In 1961 he became musical director of the Covent Garden Opera Company, London. During his ten-year tenure, he introduced changes that raised standards to the highest international levels. Under his musical directorship the status of the company was recognised with the grant of the title "the Royal Opera". He became a British citizen in 1972.
In 1969 Solti became music director of the Chicago Symphony Orchestra, a post he held for 22 years. He relinquished the position in 1991 and became the orchestra's music director laureate, a position he held until his death. During his time as the Chicago Symphony Orchestra's eighth music director, he also served as music director of the Orchestre de Paris from 1972 until 1975 and principal conductor of the London Philharmonic Orchestra from 1979 until 1983.
Known in his early years for the intensity of his music making, Solti was widely considered to have mellowed as a conductor in later years. He recorded many works two or three times at various stages of his career, and was a prolific recording artist, making more than 250 recordings, including 45 complete opera sets. The most famous of his recordings is probably Decca's complete set of Wagner's Der Ring des Nibelungen, made between 1958 and 1965.  Solti's Ring has twice been voted the greatest recording ever made, in polls for Gramophone magazine in 1999 and the BBC's Music Magazine in 2012.  Solti was repeatedly honoured by the recording industry with awards throughout his career, including a record 31 Grammy Awards as a recording artist.

Question: What is the full name of the person that worked at the Salzburg Festival?
Answer: Sir Georg Solti
Sir Georg Solti,  (born György Stern; 21 October 1912 – 5 September 1997) was a Hungarian-born orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra. Born in Budapest, he studied there with Béla Bartók, Leó Weiner and Ernő Dohnányi. In the 1930s, he was a répétiteur at the Hungarian State Opera and worked at the Salzburg Festival for Arturo Toscanini. His career was interrupted by the rise of the Nazis' influence on Hungarian politics, and being of Jewish background he fled the increasingly harsh Hungarian anti-Jewish laws in 1938. After conducting a season of Russian ballet in London at the Royal Opera House he found refuge in Switzerland, where he remained during the Second World War. Prohibited from conducting there, he earned a living as a pianist.
After the war, Solti was appointed musical director of the Bavarian State Opera in Munich in 1946. In 1952 he moved to the Oper Frankfurt, where he remained in charge for nine years. He took West German citizenship in 1953. In 1961 he became musical director of the Covent Garden Opera Company, London. During his ten-year tenure, he introduced changes that raised standards to the highest international levels. Under his musical directorship the status of the company was recognised with the grant of the title "the Royal Opera". He became a British citizen in 1972.
In 1969 Solti became music director of the Chicago Symphony Orchestra, a post he held for 22 years. He relinquished the position in 1991 and became the orchestra's music director laureate, a position he held until his death. During his time as the Chicago Symphony Orchestra's eighth music director, he also served as music director of the Orchestre de Paris from 1972 until 1975 and principal conductor of the London Philharmonic Orchestra from 1979 until 1983.
Known in his early years for the intensity of his music making, Solti was widely considered to have mellowed as a conductor in later years. He recorded many works two or three times at various stages of his career, and was a prolific recording artist, making more than 250 recordings, including 45 complete opera sets. The most famous of his recordings is probably Decca's complete set of Wagner's Der Ring des Nibelungen, made between 1958 and 1965.  Solti's Ring has twice been voted the greatest recording ever made, in polls for Gramophone magazine in 1999 and the BBC's Music Magazine in 2012.  Solti was repeatedly honoured by the recording industry with awards throughout his career, including a record 31 Grammy Awards as a recording artist.

Question: What did Sir Georg Solti do during World War II?
Answer: pianist
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the first name of the person Solti never expected to meet?
Answer: Arturo
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the last name of the person who went to Karlsruhe in Germany as assistant to Krips?
Answer: Solti
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the first name of the person who insisted that Solti should go home to Budapest?
Answer: Josef
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the first name of the person who wrote Falstaff?
Answer: Arturo
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the last name of the person who had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival?
Answer: Solti
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the full name of the person who said "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill?"
Answer: Arturo Toscanini
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the full name of the person who asked Solti if he could play for the stage rehearsals?
Answer: Arturo Toscanini
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the last name of the person who Arturo Toscanini asked if he knew Magic Flute?
Answer: Solti
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the first name of the person who received Solti?
Answer: Arturo
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the first name of the person Solti felt meeting was a chance in a million?
Answer: Arturo
After graduating from the Academy in 1930 Solti was appointed to the staff of the Hungarian State Opera. He found that working as a répétiteur, coaching singers in their roles and playing at rehearsals, was a more fruitful preparation than Unger's classes for his intended career as a conductor. In 1932 he went to Karlsruhe in Germany as assistant to Josef Krips, but within a year, Krips, anticipating the imminent rise to power of Hitler and the Nazis, insisted that Solti should go home to Budapest, where at that time Jews were not in danger. Other Jewish and anti-Nazi musicians also left Germany for Budapest. Among other musical exiles with whom Solti worked there were Otto Klemperer, Fritz Busch, and Kleiber. Before Austria fell under Nazi control, Solti was assistant to Arturo Toscanini at the 1937 Salzburg Festival:
Toscanini was the first great musical impression in my life. Before I heard him live in 1936, I had never heard a great opera conductor, not in Budapest, and it was like a lightning flash. I heard his Falstaff in 1936 and the impact was unbelievable. It was the first time I heard an ensemble singing absolutely precisely. It was fantastic. Then I never expected to meet Toscanini. It was a chance in a million. I had a letter of recommendation from the director of the Budapest Opera to the president of the Salzburg Festival. He received me and said: "Do you know Magic Flute, because we have an influenza epidemic and two of our repetiteurs are ill? Could you play this afternoon for the stage rehearsals?"

Question: What is the last name of the person that the man who was appointed the staff of the Hungarian State Opera was assistant to?
Answer: Toscanini
After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".

Question: What is the last name of the woman that married the man who first conducted on 11 March 1938?
Answer: Oeschli
After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".

Question: What competition was won in 1942 by the man who was urged to move away by his family?
Answer: Geneva International Piano Competition
After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".

Question: What disease killed the father of the man who debuted with Covent Garden in London?
Answer: diabetes
After further work as a répétiteur at the opera in Budapest, and with his standing enhanced by his association with Toscanini, Solti was given his first chance to conduct, on 11 March 1938. The opera was The Marriage of Figaro. During that evening, news came of the German invasion of Austria. Many Hungarians feared that Hitler would next invade Hungary; he did not do so, but Horthy, to strengthen his partnership with the Nazis, instituted anti-semitic laws, mirroring the Nuremberg Laws, restricting Hungary's Jews from engaging in professions. Solti's family urged him to move away. He went first to London, where he made his Covent Garden debut, conducting the London Philharmonic for a Russian ballet season. The reviewer in The Times was not impressed with Solti's efforts, finding them "too violent, for he lashed at the orchestra and flogged the music so that he endangered the delicate, evocative atmosphere." At about this time Solti dropped the name "György" in favour of "Georg".After his appearances in London Solti went to Switzerland to seek out Toscanini, who was conducting in Lucerne. Solti hoped that Toscanini would help find him a post in the US. He was unable to do so, but Solti found work and security in Switzerland as vocal coach to the tenor Max Hirzel, who was learning the role of Tristan in Wagner's opera. Throughout the Second World War, Solti remained in Switzerland. He did not see his father again: Mor Stern died of diabetes in a Budapest hospital in 1943. Solti was reunited with his mother and sister after the war. In Switzerland he could not obtain a work permit as a conductor, but earned his living as a piano teacher. After he won the 1942 Geneva International Piano Competition he was permitted to give piano recitals, but was still not allowed to conduct. During his exile, he met Hedwig (Hedi) Oeschli, daughter of a lecturer at Zürich University. They married in 1946. In his memoirs he wrote of her, "She was very elegant and sophisticated. ... Hedi gave me a little grace and taught me good manners – although she never completely succeeded in this. She also helped me enormously in my career".

Question: What job did the man who dropped his first name "György" do to make money while in Switzerland?
Answer: piano teacher
In 1960 Solti signed a three-year contract to be music director of the Los Angeles Philharmonic from 1962. Even before he took the post the Philharmonic's autocratic president, Dorothy Chandler, breached his contract by appointing a deputy music director without Solti's approval. Although he admired the chosen deputy, Zubin Mehta, Solti felt he could not have his authority undermined from the outset, and he withdrew from his appointment. He accepted an offer to become musical director of Covent Garden Opera Company, London. When first sounded out about the post he had declined it. After 14 years of experience at Munich and Frankfurt he was uncertain that he wanted a third successive operatic post. Moreover, founded only 15 years earlier, the Covent Garden company was not yet the equal of the best opera houses in Europe. Bruno Walter convinced Solti that it was his duty to take Covent Garden on.The biographer Montague Haltrecht suggests that Solti seized the breach of his Los Angeles contract as a convenient pretext to abandon the Philharmonic in favour of Covent Garden. However, in his memoirs Solti wrote that he wanted the Los Angeles position very much indeed. He originally considered holding both posts in tandem, but later acknowledged that he had had a lucky escape, as he could have done justice to neither post had he attempted to hold both simultaneously.Solti took up the musical directorship of Covent Garden in August 1961. The press gave him a cautious welcome, but there was some concern that under him there might be a drift away from the company's original policy of opera in English. Solti, however, was an advocate of opera in the vernacular, and he promoted the development of British and Commonwealth singers in the company, frequently casting them in his recordings and important productions in preference to overseas artists. He demonstrated his belief in vernacular opera with a triple bill in English of L'heure espagnole, Erwartung and Gianni Schicchi. As the decade went on, however, more and more productions had to be sung in the original language to accommodate international stars.

Question: What was the last name of the person who had their contract breached?
Answer: Solti
In 1960 Solti signed a three-year contract to be music director of the Los Angeles Philharmonic from 1962. Even before he took the post the Philharmonic's autocratic president, Dorothy Chandler, breached his contract by appointing a deputy music director without Solti's approval. Although he admired the chosen deputy, Zubin Mehta, Solti felt he could not have his authority undermined from the outset, and he withdrew from his appointment. He accepted an offer to become musical director of Covent Garden Opera Company, London. When first sounded out about the post he had declined it. After 14 years of experience at Munich and Frankfurt he was uncertain that he wanted a third successive operatic post. Moreover, founded only 15 years earlier, the Covent Garden company was not yet the equal of the best opera houses in Europe. Bruno Walter convinced Solti that it was his duty to take Covent Garden on.The biographer Montague Haltrecht suggests that Solti seized the breach of his Los Angeles contract as a convenient pretext to abandon the Philharmonic in favour of Covent Garden. However, in his memoirs Solti wrote that he wanted the Los Angeles position very much indeed. He originally considered holding both posts in tandem, but later acknowledged that he had had a lucky escape, as he could have done justice to neither post had he attempted to hold both simultaneously.Solti took up the musical directorship of Covent Garden in August 1961. The press gave him a cautious welcome, but there was some concern that under him there might be a drift away from the company's original policy of opera in English. Solti, however, was an advocate of opera in the vernacular, and he promoted the development of British and Commonwealth singers in the company, frequently casting them in his recordings and important productions in preference to overseas artists. He demonstrated his belief in vernacular opera with a triple bill in English of L'heure espagnole, Erwartung and Gianni Schicchi. As the decade went on, however, more and more productions had to be sung in the original language to accommodate international stars.

Question: What was the last name of the person who originally considered holding both posts in tandem?
Answer: Solti