nc33/multispan_quoref huggingface dataset:
Massenet was born at Montaud, then an outlying hamlet and now a part of the city of Saint-Étienne, in the Loire. He was the youngest of the four children of Alexis Massenet (1788–1863) and his second wife Eléonore-Adelaïde née Royer de Marancour (1809–1875); the elder children were Julie, Léon and Edmond. Massenet senior was a prosperous ironmonger; his wife was a talented amateur musician who gave Jules his first piano lessons. By early 1848 the family had moved to Paris, where they settled in a flat in Saint-Germain-des-Prés. Massenet was educated at the Lycée Saint-Louis and, from either 1851 or 1853, the Paris Conservatoire. According to his colourful but unreliable memoirs, Massenet auditioned in October 1851, when he was nine, before a judging panel comprising Daniel Auber, Fromental Halévy, Ambroise Thomas and Michele Carafa, and was admitted at once. His biographer Demar Irvine dates the audition and admission as January 1853. Both sources agree that Massenet continued his general education at the lycée in tandem with his musical studies.
Ambroise Thomas, my beloved master, came towards me and said, "Embrace Berlioz, you owe him a great deal for your prize." "The prize," I cried, bewildered, my face shining with joy. "I have the prize!!!" I was deeply moved and I embraced Berlioz, then my master, and finally Monsieur Auber. Monsieur Auber comforted me. Did I need comforting? Then he said to Berlioz pointing to me, "He'll go far, the young rascal, when he's had less experience!"
The prize brought a well-subsidised three-year period of study, two-thirds of which was spent at the French Academy in Rome, based at the Villa Medici. At that time the academy was dominated by painters rather than musicians; Massenet enjoyed his time there, and made lifelong friendships with, among others, the sculptor Alexandre Falguière and the painter Carolus-Duran, but the musical benefit he derived was largely self-taught. He absorbed the music at St Peter's, and closely studied the works of the great German masters, from Handel and Bach to contemporary composers. During his time in Rome, Massenet met Franz Liszt, at whose request he gave piano lessons to Louise-Constance "Ninon" de Gressy, the daughter of one of Liszt's rich patrons. Massenet and Ninon fell in love, but marriage was out of the question while he was a student with modest means.

Question: What is the last name of the person that had a colorful but unreliable memoir?
Answer: Massenet
Massenet was born at Montaud, then an outlying hamlet and now a part of the city of Saint-Étienne, in the Loire. He was the youngest of the four children of Alexis Massenet (1788–1863) and his second wife Eléonore-Adelaïde née Royer de Marancour (1809–1875); the elder children were Julie, Léon and Edmond. Massenet senior was a prosperous ironmonger; his wife was a talented amateur musician who gave Jules his first piano lessons. By early 1848 the family had moved to Paris, where they settled in a flat in Saint-Germain-des-Prés. Massenet was educated at the Lycée Saint-Louis and, from either 1851 or 1853, the Paris Conservatoire. According to his colourful but unreliable memoirs, Massenet auditioned in October 1851, when he was nine, before a judging panel comprising Daniel Auber, Fromental Halévy, Ambroise Thomas and Michele Carafa, and was admitted at once. His biographer Demar Irvine dates the audition and admission as January 1853. Both sources agree that Massenet continued his general education at the lycée in tandem with his musical studies.
Ambroise Thomas, my beloved master, came towards me and said, "Embrace Berlioz, you owe him a great deal for your prize." "The prize," I cried, bewildered, my face shining with joy. "I have the prize!!!" I was deeply moved and I embraced Berlioz, then my master, and finally Monsieur Auber. Monsieur Auber comforted me. Did I need comforting? Then he said to Berlioz pointing to me, "He'll go far, the young rascal, when he's had less experience!"
The prize brought a well-subsidised three-year period of study, two-thirds of which was spent at the French Academy in Rome, based at the Villa Medici. At that time the academy was dominated by painters rather than musicians; Massenet enjoyed his time there, and made lifelong friendships with, among others, the sculptor Alexandre Falguière and the painter Carolus-Duran, but the musical benefit he derived was largely self-taught. He absorbed the music at St Peter's, and closely studied the works of the great German masters, from Handel and Bach to contemporary composers. During his time in Rome, Massenet met Franz Liszt, at whose request he gave piano lessons to Louise-Constance "Ninon" de Gressy, the daughter of one of Liszt's rich patrons. Massenet and Ninon fell in love, but marriage was out of the question while he was a student with modest means.

Question: What is the last name of the person Demar Irvine did a biography of?
Answer: Massenet
Massenet was born at Montaud, then an outlying hamlet and now a part of the city of Saint-Étienne, in the Loire. He was the youngest of the four children of Alexis Massenet (1788–1863) and his second wife Eléonore-Adelaïde née Royer de Marancour (1809–1875); the elder children were Julie, Léon and Edmond. Massenet senior was a prosperous ironmonger; his wife was a talented amateur musician who gave Jules his first piano lessons. By early 1848 the family had moved to Paris, where they settled in a flat in Saint-Germain-des-Prés. Massenet was educated at the Lycée Saint-Louis and, from either 1851 or 1853, the Paris Conservatoire. According to his colourful but unreliable memoirs, Massenet auditioned in October 1851, when he was nine, before a judging panel comprising Daniel Auber, Fromental Halévy, Ambroise Thomas and Michele Carafa, and was admitted at once. His biographer Demar Irvine dates the audition and admission as January 1853. Both sources agree that Massenet continued his general education at the lycée in tandem with his musical studies.
Ambroise Thomas, my beloved master, came towards me and said, "Embrace Berlioz, you owe him a great deal for your prize." "The prize," I cried, bewildered, my face shining with joy. "I have the prize!!!" I was deeply moved and I embraced Berlioz, then my master, and finally Monsieur Auber. Monsieur Auber comforted me. Did I need comforting? Then he said to Berlioz pointing to me, "He'll go far, the young rascal, when he's had less experience!"
The prize brought a well-subsidised three-year period of study, two-thirds of which was spent at the French Academy in Rome, based at the Villa Medici. At that time the academy was dominated by painters rather than musicians; Massenet enjoyed his time there, and made lifelong friendships with, among others, the sculptor Alexandre Falguière and the painter Carolus-Duran, but the musical benefit he derived was largely self-taught. He absorbed the music at St Peter's, and closely studied the works of the great German masters, from Handel and Bach to contemporary composers. During his time in Rome, Massenet met Franz Liszt, at whose request he gave piano lessons to Louise-Constance "Ninon" de Gressy, the daughter of one of Liszt's rich patrons. Massenet and Ninon fell in love, but marriage was out of the question while he was a student with modest means.

Question: What is the last name of the person that gave piano lessons to Louise-Constance "Ninon" de Gressy?
Answer: Massenet
Massenet was born at Montaud, then an outlying hamlet and now a part of the city of Saint-Étienne, in the Loire. He was the youngest of the four children of Alexis Massenet (1788–1863) and his second wife Eléonore-Adelaïde née Royer de Marancour (1809–1875); the elder children were Julie, Léon and Edmond. Massenet senior was a prosperous ironmonger; his wife was a talented amateur musician who gave Jules his first piano lessons. By early 1848 the family had moved to Paris, where they settled in a flat in Saint-Germain-des-Prés. Massenet was educated at the Lycée Saint-Louis and, from either 1851 or 1853, the Paris Conservatoire. According to his colourful but unreliable memoirs, Massenet auditioned in October 1851, when he was nine, before a judging panel comprising Daniel Auber, Fromental Halévy, Ambroise Thomas and Michele Carafa, and was admitted at once. His biographer Demar Irvine dates the audition and admission as January 1853. Both sources agree that Massenet continued his general education at the lycée in tandem with his musical studies.
Ambroise Thomas, my beloved master, came towards me and said, "Embrace Berlioz, you owe him a great deal for your prize." "The prize," I cried, bewildered, my face shining with joy. "I have the prize!!!" I was deeply moved and I embraced Berlioz, then my master, and finally Monsieur Auber. Monsieur Auber comforted me. Did I need comforting? Then he said to Berlioz pointing to me, "He'll go far, the young rascal, when he's had less experience!"
The prize brought a well-subsidised three-year period of study, two-thirds of which was spent at the French Academy in Rome, based at the Villa Medici. At that time the academy was dominated by painters rather than musicians; Massenet enjoyed his time there, and made lifelong friendships with, among others, the sculptor Alexandre Falguière and the painter Carolus-Duran, but the musical benefit he derived was largely self-taught. He absorbed the music at St Peter's, and closely studied the works of the great German masters, from Handel and Bach to contemporary composers. During his time in Rome, Massenet met Franz Liszt, at whose request he gave piano lessons to Louise-Constance "Ninon" de Gressy, the daughter of one of Liszt's rich patrons. Massenet and Ninon fell in love, but marriage was out of the question while he was a student with modest means.

Question: What is the last name of the person thatabsorbed the music at St Peter's, and closely studied the works of the great German masters?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person who composed a Requiem, which has not survived?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person whose mentor for twenty-five years was Hartmann?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person who met with Hartmann in 1868, who later became his publisher?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the protégé whose reputation was much promoted through Hartmann's journalistic contacts?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person who found the war so "utterly terrible" that he refused to write about it in his memoirs?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the 1872 large-scale stage work that was a failure?
Answer: Don César de Bazan
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person whose first large-scale stage work, Don César de Bazan, was completed in Paris?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person who succeeded in 1873 with his incidental music to Leconte de Lisle's tragedy Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person whose reputation as a composer was growing at the stage of his 1873 successes?
Answer: Massenet
Massenet returned to Paris in 1866. He made a living by teaching the piano and publishing songs, piano pieces and orchestral suites, all in the popular style of the day. Prix de Rome winners were sometimes invited by the Opéra-Comique in Paris to compose a work for performance there. At Thomas's instigation, Massenet was commissioned to write a one-act opéra comique, La grand'tante,  presented in April 1867. At around the same time he composed a Requiem, which has not survived. In 1868 he met Georges Hartmann, who became his publisher and was his mentor for twenty-five years; Hartmann's journalistic contacts did much to promote his protégé's reputation.In October 1866 Massenet and Ninon were married; their only child, Juliette, was born in 1868. Massenet's musical career was briefly interrupted by the Franco-Prussian War of 1870–71, during which he served as a volunteer in the National Guard alongside his friend Bizet. He found the war so "utterly terrible" that he refused to write about it in his memoirs. He and his family were trapped in the Siege of Paris but managed to get out before the horrors of the Paris Commune began; the family stayed for some months in Bayonne, in southwestern France.After order was restored, Massenet returned to Paris where he completed his first large-scale stage work, an opéra comique in four acts, Don César de Bazan (Paris, 1872). It was a failure, but in 1873 he succeeded with his incidental music to Leconte de Lisle's tragedy  Les Érinnyes and with the dramatic oratorio, Marie-Magdeleine, both of which were performed at the Théâtre de l'Odéon. His reputation as a composer was growing, but at this stage he earned most of his income from teaching, giving lessons for six hours a day.

Question: What is the name of the person who, around 1873, earned most of his income from teaching, giving lessons for six hours a day, though his reputation as a composer was growing?
Answer: Massenet
Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson, Hahn, Leroux, Pierné, Rabaud and Vidal. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, Charles Koechlin, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic Rodney Milnes, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." Romain Rolland and Francis Poulenc have both considered Massenet an influence on Debussy's Pelléas et Mélisande; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him.

Question: What is the name of the opera that was an immense success and was quickly taken up by the opera houses of eight Italian cities?
Answer: Le roi de Lahore
Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson, Hahn, Leroux, Pierné, Rabaud and Vidal. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, Charles Koechlin, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic Rodney Milnes, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." Romain Rolland and Francis Poulenc have both considered Massenet an influence on Debussy's Pelléas et Mélisande; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him.

Question: What is the name of the piece summed up by the Times in a way that was frequently applied to Massenet's operas?
Answer: Le roi de Lahore
Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson, Hahn, Leroux, Pierné, Rabaud and Vidal. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, Charles Koechlin, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic Rodney Milnes, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." Romain Rolland and Francis Poulenc have both considered Massenet an influence on Debussy's Pelléas et Mélisande; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him.

Question: What is the name of the opera the Times calls "one of more than common merit"?
Answer: Le roi de Lahore
Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson, Hahn, Leroux, Pierné, Rabaud and Vidal. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, Charles Koechlin, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic Rodney Milnes, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." Romain Rolland and Francis Poulenc have both considered Massenet an influence on Debussy's Pelléas et Mélisande; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him.

Question: What is the full name of the person who was elected three years later?
Answer: Camille Saint-Saëns
Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson, Hahn, Leroux, Pierné, Rabaud and Vidal. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, Charles Koechlin, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic Rodney Milnes, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." Romain Rolland and Francis Poulenc have both considered Massenet an influence on Debussy's Pelléas et Mélisande; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him.

Question: What is the full name of the person whose relationship with Massenet remained cool?
Answer: Camille Saint-Saëns
Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson, Hahn, Leroux, Pierné, Rabaud and Vidal. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, Charles Koechlin, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic Rodney Milnes, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." Romain Rolland and Francis Poulenc have both considered Massenet an influence on Debussy's Pelléas et Mélisande; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him.

Question: What location in London was the opera performed?
Answer: the Royal Opera House, Covent Garden