niryuu/sni-each-converted huggingface dataset:
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: In what year did the company that changed its name to "English National Opera" establish a second company?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What was the last name of the person who was the managing director of Sadler's Wells Opera on 21 August 1968?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What cast included Norman Bailey, Rita Hunter and Alberto Remedios?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What is the full name of the person who viewed the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier as the highlights of the first ten years at the Coliseum?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What is the full name of the person who praised Charles' exceptional versatility?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What is the last name of the person who Harewood praised?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What is the last name of the person who had a range "from The House of the Dead to Patience?"?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What is the last name of the person who Handel's Julius Caesar starring Janet Baker and Valerie Masterson?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: Who took the production of Sullivan's Patience to the Vienna Festival in 1975?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What is the first name of the person who unwell and unhappy during his brief tenure?
Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Output: What is the first name of the person who was described as "immensely encouraging and supportive?"?
Passage: In the 2040s, a Martian research base, Tantalus Base outpost, is created. The eight person crew, who have been stationed there for six months, are only nineteen hours from the completion of their research mission. The spacecraft Aurora is inbound from Earth and will collect the team by lander. Mars scientist Marko Petrović has found samples that may point to life on the planet. Without revealing his discovery, he devises a ruse for a last sojourn on the surface. Crewmate Richard Harrington drives Petrović in a solar powered rover to the spot where he had found the sample. After he obtains soil with the biological agent present, a fissure swallows Petrović.
Captain Charles Brunel and crewmate Lauren Dalby plan to explore the pit to retrieve Petrović's body. Dalby remains at the pit but disappears before the team can return with equipment. Brunel authorizes Vincent Campbell to explore the pit and he finds a fungus-like life that grows in the fissure. Dalby and Petrović reappear at the main outpost, but the Martian bacteria has mutated them into fast, aggressive, zombie-like creatures with blackened skin and no trace of their original personalities. Harrington dies from a power drill attack by one of the zombies and later revives as one himself. The remaining crew hold off the zombies while Brunel and Campbell return. Brunel is also fatally injured and reanimates, which provides the crew with new insight into the symptoms: thirst, memory loss and aggression.
Output: What is the full name of the person who obtained the soil with the biological agent?
Passage: The loss of two MOBA works to theft has drawn media attention and enhanced the museum's stature. In 1996, the painting Eileen, by R. Angelo Le, vanished from MOBA.  Eileen was acquired from the trash by Wilson, and features a rip in the canvas where someone slashed it with a knife even before the museum acquired it, "adding an additional element of drama to an already powerful work", according to MOBA.The museum offered a reward of $6.50 for the return of Eileen, and although MOBA donors later increased that reward to $36.73, the work remained unrecovered for many years. The Boston Police listed the crime as "larceny, other", and Sacco was reported saying she was unable to establish a link between the disappearance of Eileen and a notorious heist at Boston's famed Isabella Stewart Gardner Museum that occurred in 1990. In 2006–10 years after Eileen was stolen—MOBA was contacted by the purported thief demanding a $5,000 ransom for the painting; no ransom was paid, but it was returned anyway.Prompted by the theft of Eileen, MOBA staff installed a fake video camera over a sign at their Dedham branch reading (in Comic Sans): "Warning. This gallery is protected by a fake security camera". Despite this deterrent, in 2004 Rebecca Harris' Self Portrait as a Drainpipe was removed from the wall and replaced with a ransom note demanding $10, although the thief neglected to include any contact information. Soon after its disappearance the painting was returned, with a $10 donation.  Curator Michael Frank speculates that the thief had difficulty fencing the portrait because "reputable institutions refuse to negotiate with criminals.".
Output: What is the name of the painting that was returned after being stolen with a $10 donation?
Passage: The loss of two MOBA works to theft has drawn media attention and enhanced the museum's stature. In 1996, the painting Eileen, by R. Angelo Le, vanished from MOBA.  Eileen was acquired from the trash by Wilson, and features a rip in the canvas where someone slashed it with a knife even before the museum acquired it, "adding an additional element of drama to an already powerful work", according to MOBA.The museum offered a reward of $6.50 for the return of Eileen, and although MOBA donors later increased that reward to $36.73, the work remained unrecovered for many years. The Boston Police listed the crime as "larceny, other", and Sacco was reported saying she was unable to establish a link between the disappearance of Eileen and a notorious heist at Boston's famed Isabella Stewart Gardner Museum that occurred in 1990. In 2006–10 years after Eileen was stolen—MOBA was contacted by the purported thief demanding a $5,000 ransom for the painting; no ransom was paid, but it was returned anyway.Prompted by the theft of Eileen, MOBA staff installed a fake video camera over a sign at their Dedham branch reading (in Comic Sans): "Warning. This gallery is protected by a fake security camera". Despite this deterrent, in 2004 Rebecca Harris' Self Portrait as a Drainpipe was removed from the wall and replaced with a ransom note demanding $10, although the thief neglected to include any contact information. Soon after its disappearance the painting was returned, with a $10 donation.  Curator Michael Frank speculates that the thief had difficulty fencing the portrait because "reputable institutions refuse to negotiate with criminals.".
Output: What painting was returned, with a $10 donation?
Passage: The traditions of the local peoples are unanimous in affirming that the oldest inhabitants of Casamance are the Bainuk people and that the left bank of the mouth of the river was first populated by the Jola. Portuguese sailors reached the west African coast in the 15th century, and in the 16th century, Portuguese traders became active in the Casamance region, mostly in search of wax, ivory, and slaves. They did not linger on "Mosquito Island", instead founding their first trading post at Ziguinchor in 1645.In the late 1820s, a mulatto trader from Gorée, Pierre Baudin, moved to Itou and began planting rice and producing lime by crushing the shells of mangrove oysters and cooking them in lime kilns. The French administration treated Baudin as their representative on the island and did not send others because few of the French wanted to live on the island. Being wet and marshy, Carabane had a reputation for its poor sanitation. The local economy was based mainly on weedy rice, which was sold in Ziguinchor or to the British in The Gambia. The Baudin family used slaves to produce the rice and, despite the declaration of its official abolition in the French colonial empire in 1848, slavery continued on the island until the early 20th century.The colonial administration wanted to expand its influence around the river, particularly because the inhabitants of Gorée were threatened with losing part of their resources with the imminent demise of the slave trade, and also because of their competition with Saint-Louis. On January 9, 1836, Lieutenant Malavois, who was in charge of Gorée, left for Casamance in search of a site for a trading post. The tip of Diogue, on the north shore, was first considered, but at the refusal of the Jola, it was the opposite bank which was eventually accepted.
Output: What was the full name of the person the French administration treated as their representative on the Island?
Passage: The traditions of the local peoples are unanimous in affirming that the oldest inhabitants of Casamance are the Bainuk people and that the left bank of the mouth of the river was first populated by the Jola. Portuguese sailors reached the west African coast in the 15th century, and in the 16th century, Portuguese traders became active in the Casamance region, mostly in search of wax, ivory, and slaves. They did not linger on "Mosquito Island", instead founding their first trading post at Ziguinchor in 1645.In the late 1820s, a mulatto trader from Gorée, Pierre Baudin, moved to Itou and began planting rice and producing lime by crushing the shells of mangrove oysters and cooking them in lime kilns. The French administration treated Baudin as their representative on the island and did not send others because few of the French wanted to live on the island. Being wet and marshy, Carabane had a reputation for its poor sanitation. The local economy was based mainly on weedy rice, which was sold in Ziguinchor or to the British in The Gambia. The Baudin family used slaves to produce the rice and, despite the declaration of its official abolition in the French colonial empire in 1848, slavery continued on the island until the early 20th century.The colonial administration wanted to expand its influence around the river, particularly because the inhabitants of Gorée were threatened with losing part of their resources with the imminent demise of the slave trade, and also because of their competition with Saint-Louis. On January 9, 1836, Lieutenant Malavois, who was in charge of Gorée, left for Casamance in search of a site for a trading post. The tip of Diogue, on the north shore, was first considered, but at the refusal of the Jola, it was the opposite bank which was eventually accepted.
Output: What practice continued on the Island until the early 20th century?
Passage: The traditions of the local peoples are unanimous in affirming that the oldest inhabitants of Casamance are the Bainuk people and that the left bank of the mouth of the river was first populated by the Jola. Portuguese sailors reached the west African coast in the 15th century, and in the 16th century, Portuguese traders became active in the Casamance region, mostly in search of wax, ivory, and slaves. They did not linger on "Mosquito Island", instead founding their first trading post at Ziguinchor in 1645.In the late 1820s, a mulatto trader from Gorée, Pierre Baudin, moved to Itou and began planting rice and producing lime by crushing the shells of mangrove oysters and cooking them in lime kilns. The French administration treated Baudin as their representative on the island and did not send others because few of the French wanted to live on the island. Being wet and marshy, Carabane had a reputation for its poor sanitation. The local economy was based mainly on weedy rice, which was sold in Ziguinchor or to the British in The Gambia. The Baudin family used slaves to produce the rice and, despite the declaration of its official abolition in the French colonial empire in 1848, slavery continued on the island until the early 20th century.The colonial administration wanted to expand its influence around the river, particularly because the inhabitants of Gorée were threatened with losing part of their resources with the imminent demise of the slave trade, and also because of their competition with Saint-Louis. On January 9, 1836, Lieutenant Malavois, who was in charge of Gorée, left for Casamance in search of a site for a trading post. The tip of Diogue, on the north shore, was first considered, but at the refusal of the Jola, it was the opposite bank which was eventually accepted.
Output: What was the name of the person was in charge of Gorée?
Passage: Helen Brent has just received a divorce in Reno, Nevada. That night, she goes to a casino and makes eye contact with a man who, though she does not know it then, is Sam Wilde, the other boyfriend of Laury Palmer, who has been her neighbor during her stay in Nevada. Wilde, an insanely jealous man who won't abide anyone cutting in on him, spots Laury in the casino with her gentleman caller, Danny and then lays in wait at her house to kill both of them. When Helen returns home, she finds Laury's dog loose outside and puts it back inside, discovering the bodies of Danny and Laury. 
Helen starts to call the police; but instead decides to go to the train station, expecting the killer will go there.  She's planning to leave town for San Francisco anyway (since she has her divorce).  As she expected, Sam is at the train station too.  Helen is instantly attracted to his self-confidence and brutality, but she is engaged to marry a wealthy boyfriend, Fred in San Francisco.  Sam wants to call on her there; he arrives at Helen's residence and meets Georgia Staples, Helen's foster sister, also rich. Sam soon shifts his attentions to her and, after a whirlwind romance, marries her for her money. Helen sees this clearly but neither this, nor Helen's engagement, nor Sam's realization that she has learned the truth about the murders, is an impediment to their having an affair.
Meanwhile, back in Reno, Mrs. Kraft, the owner of the boarding house where Helen lived, has hired a mercenary, verse-quoting detective, Albert Arnett, to find out who killed Laury. The detective follows Sam's friend, Marty, to San Francisco. Marty attends Sam's wedding; Arnett inserts himself in the kitchen where he begins asking many questions about Sam. Helen speaks to Arnett, who will not reveal who hired him but suggests that Sam is responsible for the Reno murders.
Output: What are the first names of Laury's two boyfriends?
Passage: Washington is in the northern part of the humid subtropical climate zone (Köppen: Cfa). The Trewartha classification is defined as an oceanic climate (Do). Winters are usually chilly with light snow, and summers are hot and humid. The District is in plant hardiness zone 8a near downtown, and zone 7b elsewhere in the city, indicating a humid subtropical climate.Spring and fall are mild to warm, while winter is chilly with annual snowfall averaging 15.5 inches (39 cm). Winter temperatures average around 38 °F (3 °C) from mid-December to mid-February. Summers are hot and humid with a July daily average of 79.8 °F (26.6 °C) and average daily relative humidity around 66%, which can cause moderate personal discomfort. The combination of heat and humidity in the summer brings very frequent thunderstorms, some of which occasionally produce tornadoes in the area.
Blizzards affect Washington on average once every four to six years. The most violent storms are called "nor'easters", which often affect large sections of the East Coast. From January 27 to January 28, 1922, the city officially received 28 inches (71 cm) of snowfall, the largest snowstorm since official measurements began in 1885. According to notes kept at the time, the city received between 30 and 36 inches (76 and 91 cm) from a snowstorm in January 1772.Hurricanes (or their remnants) occasionally track through the area in late summer and early fall but are often weak by the time they reach Washington, partly due to the city's inland location. Flooding of the Potomac River, however, caused by a combination of high tide, storm surge, and runoff, has been known to cause extensive property damage in the neighborhood of Georgetown.Precipitation occurs throughout the year.The highest recorded temperature was 106 °F (41 °C) on August 6, 1918, and on July 20, 1930. while the lowest recorded temperature was −15 °F (−26 °C) on February 11, 1899, right before the Great Blizzard of 1899. During a typical year, the city averages about 37 days at or above 90 °F (32 °C) and 64 nights at or below 32 °F (0 °C). On average, the first day at or below 32 °F (0 °C) is November 18 and the last day is March 27.
Output: What was the highest recorded temperature in Fahrenheit in the city where blizzards occur once every four to six years?