niryuu/sni-each-converted huggingface dataset:
Passage: Sandringham is recorded in the Domesday Book as "sant-Dersingham" and the land was awarded to a Norman knight, Robert Fitz-Corbun after the Conquest. The local antiquarian Claude Messent, in his study The Architecture on the Royal Estate of Sandringham, records the discovery of evidence of the pavements of a Roman villa. In the Elizabethan era a manor was built on the site of the present house, which, by the 18th century, came into the possession of the Hoste Henley family, descendants of Dutch refugees. In 1771 Cornish Henley cleared the site to build a Georgian mansion, Sandringham Hall. In 1834, Henry Hoste Henley died without issue, and the estate was bought at auction by John Motteux, a London merchant. Motteux was also without heirs and bequeathed Sandringham, together with another Norfolk estate and a property in Surrey, to the third son of his close friend, Emily Lamb, the wife of Lord Palmerston. At the time of his inheritance in 1843, Charles Spencer Cowper was a bachelor diplomat, resident in Paris. On succeeding to Motteux's estates, he sold the other properties and based himself at Sandringham. He undertook extensions to the hall, employing Samuel Sanders Teulon to add an elaborate porch and conservatory. Cowper's style of living was extravagant—he and his wife spent much of their time on the Continent—and within 10 years the estate was mortgaged for £89,000. The death of their only child, Mary Harriette, from cholera in 1854 led the couple to spend even more time abroad, mainly in Paris, and by the early 1860s Cowper was keen to sell the estate.
Output: What is the full name of the estate that Cowper was keen to sell by the early 1860s?
Passage: Sandringham is recorded in the Domesday Book as "sant-Dersingham" and the land was awarded to a Norman knight, Robert Fitz-Corbun after the Conquest. The local antiquarian Claude Messent, in his study The Architecture on the Royal Estate of Sandringham, records the discovery of evidence of the pavements of a Roman villa. In the Elizabethan era a manor was built on the site of the present house, which, by the 18th century, came into the possession of the Hoste Henley family, descendants of Dutch refugees. In 1771 Cornish Henley cleared the site to build a Georgian mansion, Sandringham Hall. In 1834, Henry Hoste Henley died without issue, and the estate was bought at auction by John Motteux, a London merchant. Motteux was also without heirs and bequeathed Sandringham, together with another Norfolk estate and a property in Surrey, to the third son of his close friend, Emily Lamb, the wife of Lord Palmerston. At the time of his inheritance in 1843, Charles Spencer Cowper was a bachelor diplomat, resident in Paris. On succeeding to Motteux's estates, he sold the other properties and based himself at Sandringham. He undertook extensions to the hall, employing Samuel Sanders Teulon to add an elaborate porch and conservatory. Cowper's style of living was extravagant—he and his wife spent much of their time on the Continent—and within 10 years the estate was mortgaged for £89,000. The death of their only child, Mary Harriette, from cholera in 1854 led the couple to spend even more time abroad, mainly in Paris, and by the early 1860s Cowper was keen to sell the estate.
Output: What is the last name of the person who, with his wife, spent much time on the Continent?
Passage: Foghorn Leghorn is filing his nails when Widow Hen comes by and asks a curmudgeonly old rooster Mr. Cackle to watch her young son, Junior, while she goes out. Mr. Cackle refuses, claiming Junior is destructive, disrespectful and incorrigible ("ME babysit with HIM?! You must be joshing!"); in fact, Mr. Cackle calls Junior "that Monster of Yourn" and says Junior "makes Dennis the Menace look like an angel." Mr. Cackle also points out that Junior is "Bad, Bad, BAD!". Foghorn overhears the proceedings and - hoping to silence Mr. Cackle from accusing Junior of things, and prove a point that " there ain't no such thing as a bad boy" - volunteers to watch Junior, who snickers : "Oooh, he don't know me vewy well, do he?". Just as Widow Hen goes, Foghorn promises that he and Junior will be friends, but Junior deliberately pokes Foghorn's bottom with a needle. Foghorn attempts to strangle Junior, but Mr. Cackle laughs at Foghorn's expense. Foghorn defends Junior by saying he was merely being "playful."
Foghorn first takes Junior to a box full of toys to play with while he takes a nap, but Junior scoffs and, after declaring them "widdle kids' stuff," decides to cause trouble. First, upon finding a cement mixer in the barn, Junior decides to call a false alarm, which leads to Foghorn landing in the cement mixer; he comes out posed as Rodin's "The Thinker" statue (Junior: "I'm not weawwy a scuwptor. It's just me mean widdle hobby!"). Foghorn recovers and threatens to report Junior's misbehavior to Widow Hen, but Junior counters by warning that he'll tell his mother that Foghorn is still "booking the horses". Foghorn tries to laugh this off, and does - but Junior says "And they're off!", causing Foghorn to briefly mimick watching a horse race, only to realize in shock that he's been tricked again.
Output: Who is the incorrigible child the son of?
Passage: Foghorn Leghorn is filing his nails when Widow Hen comes by and asks a curmudgeonly old rooster Mr. Cackle to watch her young son, Junior, while she goes out. Mr. Cackle refuses, claiming Junior is destructive, disrespectful and incorrigible ("ME babysit with HIM?! You must be joshing!"); in fact, Mr. Cackle calls Junior "that Monster of Yourn" and says Junior "makes Dennis the Menace look like an angel." Mr. Cackle also points out that Junior is "Bad, Bad, BAD!". Foghorn overhears the proceedings and - hoping to silence Mr. Cackle from accusing Junior of things, and prove a point that " there ain't no such thing as a bad boy" - volunteers to watch Junior, who snickers : "Oooh, he don't know me vewy well, do he?". Just as Widow Hen goes, Foghorn promises that he and Junior will be friends, but Junior deliberately pokes Foghorn's bottom with a needle. Foghorn attempts to strangle Junior, but Mr. Cackle laughs at Foghorn's expense. Foghorn defends Junior by saying he was merely being "playful."
Foghorn first takes Junior to a box full of toys to play with while he takes a nap, but Junior scoffs and, after declaring them "widdle kids' stuff," decides to cause trouble. First, upon finding a cement mixer in the barn, Junior decides to call a false alarm, which leads to Foghorn landing in the cement mixer; he comes out posed as Rodin's "The Thinker" statue (Junior: "I'm not weawwy a scuwptor. It's just me mean widdle hobby!"). Foghorn recovers and threatens to report Junior's misbehavior to Widow Hen, but Junior counters by warning that he'll tell his mother that Foghorn is still "booking the horses". Foghorn tries to laugh this off, and does - but Junior says "And they're off!", causing Foghorn to briefly mimick watching a horse race, only to realize in shock that he's been tricked again.
Output: What is the full name of the animal that thinks they can prove the curmudgeonly old rooster wrong?
Passage: Foghorn Leghorn is filing his nails when Widow Hen comes by and asks a curmudgeonly old rooster Mr. Cackle to watch her young son, Junior, while she goes out. Mr. Cackle refuses, claiming Junior is destructive, disrespectful and incorrigible ("ME babysit with HIM?! You must be joshing!"); in fact, Mr. Cackle calls Junior "that Monster of Yourn" and says Junior "makes Dennis the Menace look like an angel." Mr. Cackle also points out that Junior is "Bad, Bad, BAD!". Foghorn overhears the proceedings and - hoping to silence Mr. Cackle from accusing Junior of things, and prove a point that " there ain't no such thing as a bad boy" - volunteers to watch Junior, who snickers : "Oooh, he don't know me vewy well, do he?". Just as Widow Hen goes, Foghorn promises that he and Junior will be friends, but Junior deliberately pokes Foghorn's bottom with a needle. Foghorn attempts to strangle Junior, but Mr. Cackle laughs at Foghorn's expense. Foghorn defends Junior by saying he was merely being "playful."
Foghorn first takes Junior to a box full of toys to play with while he takes a nap, but Junior scoffs and, after declaring them "widdle kids' stuff," decides to cause trouble. First, upon finding a cement mixer in the barn, Junior decides to call a false alarm, which leads to Foghorn landing in the cement mixer; he comes out posed as Rodin's "The Thinker" statue (Junior: "I'm not weawwy a scuwptor. It's just me mean widdle hobby!"). Foghorn recovers and threatens to report Junior's misbehavior to Widow Hen, but Junior counters by warning that he'll tell his mother that Foghorn is still "booking the horses". Foghorn tries to laugh this off, and does - but Junior says "And they're off!", causing Foghorn to briefly mimick watching a horse race, only to realize in shock that he's been tricked again.
Output: Who does Foghorn threaten to tell about the child's bad behavior?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who further considered the idea of composing three one-act operas to be performed together?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who found their publisher firmly opposed to one of their projects?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Whose publisher was convinced that it a project would be expensive to cast and produced?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who planned to work with their longtime librettist on an opera about Marie Antoinette?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who set aside a proposal to concentrate on a project which became La fanciulla del West?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who did not wholly abandon the idea of a multiple-opera evening?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Whose next idea was for a two-opera bill?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who later expanded their original idea to include a third opera with mystic or religious tones?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who lacked ideas for their other two works?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: Who considered staging Il tabarro in combination with their own early work?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: What is the name of the person who considered three works by a French dramatist before proceeding with Madame Butterfly?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: What is the name of the person whose publisher was firmly opposed to the idea of composing three one-act operas to be performed together?
Passage: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's entertainment. Finally, librettist Giovacchino Forzano presented the composer with two works of his own, which became Suor Angelica and Gianni Schicchi. The latter would be Puccini's first setting of a comic text; although his earlier operas, for example La bohème, contain comic episodes, these are merely ancillary to the drama to provide contrast.Forzano wrote to Tito Ricordi, Giulio's son, on 3 March 1917:
I sent the libretto of Suor Angelica to Maestro Puccini some days ago. He has declared himself – kind as he is – very satisfied ... I have also finished a brief outline of a plot based on Gianni Schicchi. You know the Maestro's opinion of this subject, which is rich in possibilities and whose comic nature is quite out of the ordinary.
Output: What is the name of the person who considered the idea of composing three one-act operas to be performed together?