niryuu/sni-each-converted huggingface dataset:
Passage: Two days after the events of the first film, a traumatized and blood-covered Sarah escapes the cave with no memory of the events. She is taken to a hospital, where it is found that some of the blood on her belongs to Juno Kaplan. Sheriff Vaines takes his deputy Elen Rios, Sarah, and three spelunking specialists – Dan, Greg, and Cath – to the cave to find the missing women. The team members are sent down via an old mine shaft operated by the old, mysterious Ed Oswald.
The group discovers Rebecca's mutilated body, causing Sarah to have flashbacks of the crawlers and causing Vaines to believe Sarah may be responsible for the girls' disappearance.  While crawling through a tunnel, she attacks Vaines and the others, causing the others to split up. Vaines runs to search for Sarah, and in the process is surprised by a crawler, and fires his gun in a panic, causing a minor collapse in the cavern which traps Cath, separating her from Rios, Dan, and Greg.  The three decide to find an alternate way around in order to try to free Cath and arrive in a room full of bones, where they find Holly's video camera. They watch it and realize the women were attacked by the crawlers. The three are then themselves attacked by crawlers and separated.
Rios starts calling for help, alerting the crawlers to her location, but is rescued by Sarah.  The two then watch as a crawler kills Dan and drags his body away, prompting Sarah to inform Rios that the crawlers are blind and hunt via sound. After escaping from and killing a crawler, Cath finds Greg before the two escape from another crawler and find Sam's body. They decide to try to use her to swing across a chasm, but are attacked again. Greg sacrifices himself to buy time for Cath, but she ultimately does not survive.
Output: Who is used to swing across a chasm?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What is the name of the person that was offered the position after Fritz Reiner died?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What is the name of the person that offered giving the Chicago Symphony Orchestra three and a half months?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: Who did Solti suggest the idea of Carlo Maria Giulini to share a post with him?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: In what year did Carlo Maria Giulini start to share the conducting at the Chicago Symphony Orchestra?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What year did the Chicago Symphony Orchestra go on tour?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What is the full name of the person that said Solti is tense at rehearsals?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What are the last names of the conductors who signed three-year contracts with the orchestra?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What is the full of the orchestra Solti suggested give them three and a half months a year?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: Who was described as being very tense at rehearsals?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What had Solti committed to that prevented him from excepting the Chicago Symphony Orchestra in 1963?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What is the full name of the person Solti shared the conducting duties with?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What year did Solti start his contract with the Chicago Symphony Orchestra?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: In what year did the Chicago Symphony Orchestra travel to Europe?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: What is the full name of the person that said "relaxed during the performance, which is a great asset to the orchestra"?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: Who was the principal flute player for the Chicago Symphony Orchestra?
Passage: In 1967 Solti was invited to become music director of the Chicago Symphony Orchestra. It was the second time he had been offered the post. The first had been in 1963 after the death of the orchestra's conductor, Fritz Reiner, who made its reputation in the previous decade. Solti told the representatives of the orchestra that his commitments at Covent Garden made it impossible to give Chicago the eight months a year they sought. He suggested giving them three and a half months a year and inviting Carlo Maria Giulini to take charge for a similar length of time. The orchestra declined to proceed on these lines. When Solti accepted the orchestra's second invitation it was agreed that Giulini should be appointed to share the conducting. Both conductors signed three-year contracts with the orchestra, effective from 1969.One of the members of the Chicago Symphony described it to Solti as "the best provincial orchestra in the world." Many players remained from its celebrated decade under Reiner, but morale was low, and the orchestra was $5m in debt. Solti concluded that it was essential to raise the orchestra's international profile. He ensured that it was engaged for many of his Decca sessions, and he and Giulini led it in a European tour in 1971, playing in ten countries. It was the first time in its 80-year history that the orchestra had played outside of North America. The orchestra received plaudits from European critics, and was welcomed home at the end of the tour with a ticker-tape parade.The orchestra's principal flute player, Donald Peck, commented that the relationship between a conductor and an orchestra is difficult to explain: "some conductors get along with some orchestras and not others. We had a good match with Solti and he with us." Peck's colleague, the violinist Victor Aitay said, "Usually conductors are relaxed at rehearsals and tense at the concerts. Solti is the reverse. He is very tense at rehearsals, which makes us concentrate, but relaxed during the performance, which is a great asset to the orchestra." Peck recalled Solti's constant efforts to improve his own technique and interpretations, at one point experimentally dispensing with a baton, drawing a "darker and deeper, much more relaxed" tone from the players.
Output: Who had commitments at Covent Garden?
Passage: Thirty years old and single, Pauline "Poppy" Cross shares a London flat with her best friend Zoe, a fellow teacher. Poppy is free-minded, high-spirited and kind-hearted. The film opens with Poppy trying to engage a shop employee in conversation. He ignores her, yet his icy demeanour does not bother her. She maintains her good mood even when she discovers her bicycle has been stolen. Her main concern is not getting a new one or finding the bicycle, but that she did not get a chance to say goodbye to it. This prompts her to decide to learn how to drive.
When Poppy takes driving lessons for the first time, her positive attitude contrasts starkly with her gloomy, intolerant and cynical driving instructor, Scott. He is emotionally repressed, has anger problems and becomes extremely agitated by Poppy's casual attitude towards driving. As Poppy gets to know him, it becomes evident that Scott believes in conspiracy theories. His beliefs are partly attributable to his racist and misogynistic views, which make it hard for him to get along with others. Scott seems to be angered by Poppy's sunny personality and what he perceives as a lack of responsibility and concern for driving safety. Scott is exceptionally irritated by Poppy's choice of footwear (a pair of high-heeled boots), which he feels compromises her ability to drive. From the outset, he feels Poppy does not take her lessons seriously and is careless.
Poppy, however, does have the capacity to be responsible. At school, Poppy observes one of her pupils bullying one of his classmates. Rather than becoming angry, she worries about him and takes the appropriate action. After speaking with her student, she comes to the correct conclusion that her student is being abused at home. A social worker, Tim, is brought in to handle the boy's case. Through Tim and the pupil's interactions, the latter reveals that his mother's boyfriend has been beating him. Tim and Poppy begin dating.
Output: What is the full name of the person that the shop employee ignores?
Passage: Thirty years old and single, Pauline "Poppy" Cross shares a London flat with her best friend Zoe, a fellow teacher. Poppy is free-minded, high-spirited and kind-hearted. The film opens with Poppy trying to engage a shop employee in conversation. He ignores her, yet his icy demeanour does not bother her. She maintains her good mood even when she discovers her bicycle has been stolen. Her main concern is not getting a new one or finding the bicycle, but that she did not get a chance to say goodbye to it. This prompts her to decide to learn how to drive.
When Poppy takes driving lessons for the first time, her positive attitude contrasts starkly with her gloomy, intolerant and cynical driving instructor, Scott. He is emotionally repressed, has anger problems and becomes extremely agitated by Poppy's casual attitude towards driving. As Poppy gets to know him, it becomes evident that Scott believes in conspiracy theories. His beliefs are partly attributable to his racist and misogynistic views, which make it hard for him to get along with others. Scott seems to be angered by Poppy's sunny personality and what he perceives as a lack of responsibility and concern for driving safety. Scott is exceptionally irritated by Poppy's choice of footwear (a pair of high-heeled boots), which he feels compromises her ability to drive. From the outset, he feels Poppy does not take her lessons seriously and is careless.
Poppy, however, does have the capacity to be responsible. At school, Poppy observes one of her pupils bullying one of his classmates. Rather than becoming angry, she worries about him and takes the appropriate action. After speaking with her student, she comes to the correct conclusion that her student is being abused at home. A social worker, Tim, is brought in to handle the boy's case. Through Tim and the pupil's interactions, the latter reveals that his mother's boyfriend has been beating him. Tim and Poppy begin dating.
Output: What is the full name of the person who decides to learn how to drive?
Passage: Thirty years old and single, Pauline "Poppy" Cross shares a London flat with her best friend Zoe, a fellow teacher. Poppy is free-minded, high-spirited and kind-hearted. The film opens with Poppy trying to engage a shop employee in conversation. He ignores her, yet his icy demeanour does not bother her. She maintains her good mood even when she discovers her bicycle has been stolen. Her main concern is not getting a new one or finding the bicycle, but that she did not get a chance to say goodbye to it. This prompts her to decide to learn how to drive.
When Poppy takes driving lessons for the first time, her positive attitude contrasts starkly with her gloomy, intolerant and cynical driving instructor, Scott. He is emotionally repressed, has anger problems and becomes extremely agitated by Poppy's casual attitude towards driving. As Poppy gets to know him, it becomes evident that Scott believes in conspiracy theories. His beliefs are partly attributable to his racist and misogynistic views, which make it hard for him to get along with others. Scott seems to be angered by Poppy's sunny personality and what he perceives as a lack of responsibility and concern for driving safety. Scott is exceptionally irritated by Poppy's choice of footwear (a pair of high-heeled boots), which he feels compromises her ability to drive. From the outset, he feels Poppy does not take her lessons seriously and is careless.
Poppy, however, does have the capacity to be responsible. At school, Poppy observes one of her pupils bullying one of his classmates. Rather than becoming angry, she worries about him and takes the appropriate action. After speaking with her student, she comes to the correct conclusion that her student is being abused at home. A social worker, Tim, is brought in to handle the boy's case. Through Tim and the pupil's interactions, the latter reveals that his mother's boyfriend has been beating him. Tim and Poppy begin dating.
Output: Who does Poppy worry about?
Passage: Thirty years old and single, Pauline "Poppy" Cross shares a London flat with her best friend Zoe, a fellow teacher. Poppy is free-minded, high-spirited and kind-hearted. The film opens with Poppy trying to engage a shop employee in conversation. He ignores her, yet his icy demeanour does not bother her. She maintains her good mood even when she discovers her bicycle has been stolen. Her main concern is not getting a new one or finding the bicycle, but that she did not get a chance to say goodbye to it. This prompts her to decide to learn how to drive.
When Poppy takes driving lessons for the first time, her positive attitude contrasts starkly with her gloomy, intolerant and cynical driving instructor, Scott. He is emotionally repressed, has anger problems and becomes extremely agitated by Poppy's casual attitude towards driving. As Poppy gets to know him, it becomes evident that Scott believes in conspiracy theories. His beliefs are partly attributable to his racist and misogynistic views, which make it hard for him to get along with others. Scott seems to be angered by Poppy's sunny personality and what he perceives as a lack of responsibility and concern for driving safety. Scott is exceptionally irritated by Poppy's choice of footwear (a pair of high-heeled boots), which he feels compromises her ability to drive. From the outset, he feels Poppy does not take her lessons seriously and is careless.
Poppy, however, does have the capacity to be responsible. At school, Poppy observes one of her pupils bullying one of his classmates. Rather than becoming angry, she worries about him and takes the appropriate action. After speaking with her student, she comes to the correct conclusion that her student is being abused at home. A social worker, Tim, is brought in to handle the boy's case. Through Tim and the pupil's interactions, the latter reveals that his mother's boyfriend has been beating him. Tim and Poppy begin dating.
Output: What does Poppy do as a job?