nc33/multispan_quoref huggingface dataset:
In 1937 Ferrier entered the Carlisle Festival open piano competition and, as a result of a small bet with her husband, also signed up for the singing contest. She easily won the piano trophy; in the singing finals she sang Roger Quilter's To Daisies, a performance which earned her the festival's top vocal award. To mark her double triumph in piano and voice, Ferrier was awarded a special rose bowl as champion of the festival.After her Carlisle victories, Ferrier began to receive offers of singing engagements. Her first appearance as a professional vocalist, in autumn 1937, was at a harvest festival celebration in the village church at Aspatria. She was paid one guinea. After winning the gold cup at the 1938 Workington Festival, Ferrier sang Ma Curly-Headed Babby in a concert at Workington Opera House. Cecil McGivern, producer of a BBC Northern radio variety show, was in the audience and was sufficiently impressed to book her for the next edition of his programme, which was broadcast from Newcastle on 23 February 1939. This broadcast—her first as a vocalist—attracted wide attention, and led to more radio work, though for Ferrier the event was overshadowed by the death of her mother at the beginning of February. At the 1939 Carlisle Festival, Ferrier sang Richard Strauss's song All Souls' Day, a performance which particularly impressed one of the adjudicators, J. E. Hutchinson, a music teacher with a considerable reputation. Ferrier became his pupil and, under his guidance, began to extend her repertoire to include works by Bach, Handel, Brahms and Elgar.When Albert Wilson joined the army in 1940, Ferrier reverted to her maiden name, having until then sung as 'Kathleen Wilson'. In December 1940 she appeared for the first time professionally as 'Kathleen Ferrier' in a performance of Handel's Messiah, under Hutchinson's direction. In early 1941 she successfully auditioned as a singer with the Council for the Encouragement of the Arts (CEMA), which provided concerts and other entertainments to military camps, factories and other workplaces. Within this organisation Ferrier began working with artists with international reputations; in December 1941 she sang with the Hallé Orchestra in a performance of Messiah together with Isobel Baillie, the distinguished soprano. However, her application to the BBC's head of music in Manchester for an audition was turned down. Ferrier had better fortune when she was introduced to Malcolm Sargent after a Hallé concert in Blackpool. Sargent agreed to hear her sing, and afterwards recommended her to Ibbs and Tillett, the London-based concert management agency. John Tillett accepted her as a client without hesitation after which, on Sargent's advice, Ferrier decided to base herself in London. On 24 December 1942 she moved with her sister Winifred into a flat in Frognal Mansions, Hampstead.

Question: What is the first name of the person who sang with the Hallé Orchestra in a performance of Messiah together with Isobel Baillie, the distinguished soprano?
Answer: Kathleen
In 1937 Ferrier entered the Carlisle Festival open piano competition and, as a result of a small bet with her husband, also signed up for the singing contest. She easily won the piano trophy; in the singing finals she sang Roger Quilter's To Daisies, a performance which earned her the festival's top vocal award. To mark her double triumph in piano and voice, Ferrier was awarded a special rose bowl as champion of the festival.After her Carlisle victories, Ferrier began to receive offers of singing engagements. Her first appearance as a professional vocalist, in autumn 1937, was at a harvest festival celebration in the village church at Aspatria. She was paid one guinea. After winning the gold cup at the 1938 Workington Festival, Ferrier sang Ma Curly-Headed Babby in a concert at Workington Opera House. Cecil McGivern, producer of a BBC Northern radio variety show, was in the audience and was sufficiently impressed to book her for the next edition of his programme, which was broadcast from Newcastle on 23 February 1939. This broadcast—her first as a vocalist—attracted wide attention, and led to more radio work, though for Ferrier the event was overshadowed by the death of her mother at the beginning of February. At the 1939 Carlisle Festival, Ferrier sang Richard Strauss's song All Souls' Day, a performance which particularly impressed one of the adjudicators, J. E. Hutchinson, a music teacher with a considerable reputation. Ferrier became his pupil and, under his guidance, began to extend her repertoire to include works by Bach, Handel, Brahms and Elgar.When Albert Wilson joined the army in 1940, Ferrier reverted to her maiden name, having until then sung as 'Kathleen Wilson'. In December 1940 she appeared for the first time professionally as 'Kathleen Ferrier' in a performance of Handel's Messiah, under Hutchinson's direction. In early 1941 she successfully auditioned as a singer with the Council for the Encouragement of the Arts (CEMA), which provided concerts and other entertainments to military camps, factories and other workplaces. Within this organisation Ferrier began working with artists with international reputations; in December 1941 she sang with the Hallé Orchestra in a performance of Messiah together with Isobel Baillie, the distinguished soprano. However, her application to the BBC's head of music in Manchester for an audition was turned down. Ferrier had better fortune when she was introduced to Malcolm Sargent after a Hallé concert in Blackpool. Sargent agreed to hear her sing, and afterwards recommended her to Ibbs and Tillett, the London-based concert management agency. John Tillett accepted her as a client without hesitation after which, on Sargent's advice, Ferrier decided to base herself in London. On 24 December 1942 she moved with her sister Winifred into a flat in Frognal Mansions, Hampstead.

Question: What is the first name of the person whose application to the BBC's head of music in Manchester for an audition was turned down?
Answer: Kathleen
In 1937 Ferrier entered the Carlisle Festival open piano competition and, as a result of a small bet with her husband, also signed up for the singing contest. She easily won the piano trophy; in the singing finals she sang Roger Quilter's To Daisies, a performance which earned her the festival's top vocal award. To mark her double triumph in piano and voice, Ferrier was awarded a special rose bowl as champion of the festival.After her Carlisle victories, Ferrier began to receive offers of singing engagements. Her first appearance as a professional vocalist, in autumn 1937, was at a harvest festival celebration in the village church at Aspatria. She was paid one guinea. After winning the gold cup at the 1938 Workington Festival, Ferrier sang Ma Curly-Headed Babby in a concert at Workington Opera House. Cecil McGivern, producer of a BBC Northern radio variety show, was in the audience and was sufficiently impressed to book her for the next edition of his programme, which was broadcast from Newcastle on 23 February 1939. This broadcast—her first as a vocalist—attracted wide attention, and led to more radio work, though for Ferrier the event was overshadowed by the death of her mother at the beginning of February. At the 1939 Carlisle Festival, Ferrier sang Richard Strauss's song All Souls' Day, a performance which particularly impressed one of the adjudicators, J. E. Hutchinson, a music teacher with a considerable reputation. Ferrier became his pupil and, under his guidance, began to extend her repertoire to include works by Bach, Handel, Brahms and Elgar.When Albert Wilson joined the army in 1940, Ferrier reverted to her maiden name, having until then sung as 'Kathleen Wilson'. In December 1940 she appeared for the first time professionally as 'Kathleen Ferrier' in a performance of Handel's Messiah, under Hutchinson's direction. In early 1941 she successfully auditioned as a singer with the Council for the Encouragement of the Arts (CEMA), which provided concerts and other entertainments to military camps, factories and other workplaces. Within this organisation Ferrier began working with artists with international reputations; in December 1941 she sang with the Hallé Orchestra in a performance of Messiah together with Isobel Baillie, the distinguished soprano. However, her application to the BBC's head of music in Manchester for an audition was turned down. Ferrier had better fortune when she was introduced to Malcolm Sargent after a Hallé concert in Blackpool. Sargent agreed to hear her sing, and afterwards recommended her to Ibbs and Tillett, the London-based concert management agency. John Tillett accepted her as a client without hesitation after which, on Sargent's advice, Ferrier decided to base herself in London. On 24 December 1942 she moved with her sister Winifred into a flat in Frognal Mansions, Hampstead.

Question: What is the first name of the person who was introduced to Malcolm Sargent after a Hallé concert in Blackpool?
Answer: Kathleen
In 1937 Ferrier entered the Carlisle Festival open piano competition and, as a result of a small bet with her husband, also signed up for the singing contest. She easily won the piano trophy; in the singing finals she sang Roger Quilter's To Daisies, a performance which earned her the festival's top vocal award. To mark her double triumph in piano and voice, Ferrier was awarded a special rose bowl as champion of the festival.After her Carlisle victories, Ferrier began to receive offers of singing engagements. Her first appearance as a professional vocalist, in autumn 1937, was at a harvest festival celebration in the village church at Aspatria. She was paid one guinea. After winning the gold cup at the 1938 Workington Festival, Ferrier sang Ma Curly-Headed Babby in a concert at Workington Opera House. Cecil McGivern, producer of a BBC Northern radio variety show, was in the audience and was sufficiently impressed to book her for the next edition of his programme, which was broadcast from Newcastle on 23 February 1939. This broadcast—her first as a vocalist—attracted wide attention, and led to more radio work, though for Ferrier the event was overshadowed by the death of her mother at the beginning of February. At the 1939 Carlisle Festival, Ferrier sang Richard Strauss's song All Souls' Day, a performance which particularly impressed one of the adjudicators, J. E. Hutchinson, a music teacher with a considerable reputation. Ferrier became his pupil and, under his guidance, began to extend her repertoire to include works by Bach, Handel, Brahms and Elgar.When Albert Wilson joined the army in 1940, Ferrier reverted to her maiden name, having until then sung as 'Kathleen Wilson'. In December 1940 she appeared for the first time professionally as 'Kathleen Ferrier' in a performance of Handel's Messiah, under Hutchinson's direction. In early 1941 she successfully auditioned as a singer with the Council for the Encouragement of the Arts (CEMA), which provided concerts and other entertainments to military camps, factories and other workplaces. Within this organisation Ferrier began working with artists with international reputations; in December 1941 she sang with the Hallé Orchestra in a performance of Messiah together with Isobel Baillie, the distinguished soprano. However, her application to the BBC's head of music in Manchester for an audition was turned down. Ferrier had better fortune when she was introduced to Malcolm Sargent after a Hallé concert in Blackpool. Sargent agreed to hear her sing, and afterwards recommended her to Ibbs and Tillett, the London-based concert management agency. John Tillett accepted her as a client without hesitation after which, on Sargent's advice, Ferrier decided to base herself in London. On 24 December 1942 she moved with her sister Winifred into a flat in Frognal Mansions, Hampstead.

Question: What is the first name of the person who was accepted as a client by John Tillett without hesitation?
Answer: Kathleen
In 1937 Ferrier entered the Carlisle Festival open piano competition and, as a result of a small bet with her husband, also signed up for the singing contest. She easily won the piano trophy; in the singing finals she sang Roger Quilter's To Daisies, a performance which earned her the festival's top vocal award. To mark her double triumph in piano and voice, Ferrier was awarded a special rose bowl as champion of the festival.After her Carlisle victories, Ferrier began to receive offers of singing engagements. Her first appearance as a professional vocalist, in autumn 1937, was at a harvest festival celebration in the village church at Aspatria. She was paid one guinea. After winning the gold cup at the 1938 Workington Festival, Ferrier sang Ma Curly-Headed Babby in a concert at Workington Opera House. Cecil McGivern, producer of a BBC Northern radio variety show, was in the audience and was sufficiently impressed to book her for the next edition of his programme, which was broadcast from Newcastle on 23 February 1939. This broadcast—her first as a vocalist—attracted wide attention, and led to more radio work, though for Ferrier the event was overshadowed by the death of her mother at the beginning of February. At the 1939 Carlisle Festival, Ferrier sang Richard Strauss's song All Souls' Day, a performance which particularly impressed one of the adjudicators, J. E. Hutchinson, a music teacher with a considerable reputation. Ferrier became his pupil and, under his guidance, began to extend her repertoire to include works by Bach, Handel, Brahms and Elgar.When Albert Wilson joined the army in 1940, Ferrier reverted to her maiden name, having until then sung as 'Kathleen Wilson'. In December 1940 she appeared for the first time professionally as 'Kathleen Ferrier' in a performance of Handel's Messiah, under Hutchinson's direction. In early 1941 she successfully auditioned as a singer with the Council for the Encouragement of the Arts (CEMA), which provided concerts and other entertainments to military camps, factories and other workplaces. Within this organisation Ferrier began working with artists with international reputations; in December 1941 she sang with the Hallé Orchestra in a performance of Messiah together with Isobel Baillie, the distinguished soprano. However, her application to the BBC's head of music in Manchester for an audition was turned down. Ferrier had better fortune when she was introduced to Malcolm Sargent after a Hallé concert in Blackpool. Sargent agreed to hear her sing, and afterwards recommended her to Ibbs and Tillett, the London-based concert management agency. John Tillett accepted her as a client without hesitation after which, on Sargent's advice, Ferrier decided to base herself in London. On 24 December 1942 she moved with her sister Winifred into a flat in Frognal Mansions, Hampstead.

Question: What is the first name of the person who moved with her sister Winifred into a flat in Frognal Mansions, Hampstead on 24 December 1942?
Answer: Kathleen
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person who approached the distinguished baritone, Roy?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person who sang with Roy in Mendelssohn's Elijah?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person who Roy agreed to teach?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person for whom Roy was a voice coach for the remainder of her life?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person for whom Roy said her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person who had a natural physical advantage?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person whose voice quality was said to be due to "her hard work, artistry, sincerity, personality and above all her character?"
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person who wrote her family about flowers in the fields all the way?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the last name of the person who had a difficult relationship with a conductor named Fritz?
Answer: Ferrier
Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che farò ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament."

Question: What is the first name of the person who recognised with delight that here potentially was one of the greatest singers of our time?
Answer: Bruno
On 1 January 1948 Ferrier left for a four-week tour of North America, the first of three transatlantic trips she would make during the next three years. In New York she sang two performances of Das Lied von der Erde, with Bruno Walter and the New York Philharmonic. Alma Mahler, the composer's widow, was present at the first of these, on 15 January. In a letter written the following day, Ferrier told her sister: "Some of the critics are enthusiastic, others unimpressed". After the second performance, which was broadcast from coast to coast, Ferrier gave recitals in Ottawa and Chicago before returning to New York and embarking for home on 4 February.During 1948, amid many engagements, Ferrier performed Brahms's Alto Rhapsody at the Proms in August, and sang in Bach's Mass in B minor at that year's Edinburgh Festival. On 13 October she joined Barbirolli and the Hallé Orchestra in a broadcast performance of Mahler's song cycle Kindertotenlieder. She returned to the Netherlands in January 1949 for a series of recitals, then left Southampton on 18 February to begin her second American tour. This opened in New York with a concert performance of Orfeo ed Euridice that won uniform critical praise from the New York critics. On the tour which followed, her accompanist was Arpád Sándor (1896–1972), who was suffering from a depressive illness that badly affected his playing. Unaware of his problem, in letters home Ferrier berated "this abominable accompanist" who deserved "a kick in the pants". When she found out that he had been ill for months, she turned her fury on the tour's promoters: "What a blinking nerve to palm him on to me". Eventually, when Sándor was too ill to appear, Ferrier was able to recruit a Canadian pianist, John Newmark, with whom she formed a warm and lasting working relationship.

Question: What is the full name of the person about whose problems Ferrier was unaware, and who she would berate as an "abominable accompanist"?
Answer: Arpád Sándor