niryuu/sni-each-converted huggingface dataset:
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: Who was the long letter about financial matters written in 1620 addressed to by the man who's approach to his Mantua commissions was often dilatory and half-hearted?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What is the last name of the person who wrote Andromeda?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What is the last name of the person whose chancellor was Marigliani?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What are the full names of the two people Monteverdi wrote to only occasionally from 1618-20?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What is the last name of the person who ordered that the remaining Andromeda music be sent to him forthwith?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What is the first name of the person the final segment of Andromeda was delivered to on 15 February 1620?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What is the last name of the person who wrote a long letter to Striggio on 13 March 1620?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What was the full name of Don Vincenzo Gonzaga's brother?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What were the last names of the three people Monteverdi wrote letters to offering various excuses for his lack of progress on Andromeda?
Passage: Monteverdi's next commission from Mantua came early in 1618, when he was asked to provide the music for Andromeda, an opera based on the ancient Greek myth of the princess chained to a rock. The libretto was written by Duke Ferdinando's chancellor, Ercole Marigliani, and the project was sponsored by the duke's younger brother, Don Vincenzo Gonzaga. It is probable that the work was intended for performance at the Mantua Carnival of March 1618, but as Carter records, Monteverdi's approach to his Mantua commissions was often dilatory and half-hearted; his inability or unwillingness to work on Andromeda delayed its performance, first to 1619 and then to 1620.Monteverdi's letters during the 1618–20 period, mainly to Striggio but occasionally to Don Vincenzo or Marigliani, offer various excuses for his lack of progress on Andromeda, including his duties at St Mark's, his health, and his obligations to provide ceremonial music for the Doge (ruler) of Venice. In February 1619, Monteverdi had started work on another Mantuan project, a ballo (dance with sung parts) to Striggio's libretto entitled Apollo. On 9 January 1620, still with 400 lines of the Andromeda libretto to set to music, Monteverdi proposed to Striggio that the entire opera project be abandoned and the ballo substituted. This idea was rapidly quashed; Don Vincenzo ordered that the remaining Andromeda music be sent to him forthwith. The final segment of Andromeda, an eight-part song, was delivered to Marigliani on 15 February 1620.None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620. An analysis of its contents reveals some influence from Rinuccini's libretto for Arianna, such as use of identical metre and length in the prologues of each work, and several common characters in the respective cast lists. The document remains in private hands and has not been published.Monteverdi recorded no apparent interest in the performance of Andromeda after the 1620 Carnival; the long letter that he wrote to Striggio on 13 March 1620 makes no reference to the event and is chiefly concerned with financial matters. The letter implies that the Gonzaga court was trying to persuade Monteverdi to return to Mantua; in courtly language Monteverdi evades the issue, while comparing the relative generosity of his Venetian employers with the parsimony of the Gonzaga court.
Output: What was the name of the ballo Monteverdi started working on?
Passage: November 9, 1965: Margaret Garrison is a stage actress who has spent her career starring in virginal roles, although she would relish the opportunity to play someone less savory, such as an Italian prostitute, at least once before she retires. When a blackout shutters her current Broadway play for the night, she returns home unexpectedly and discovers her architect husband Peter being overly attentive to attractive reporter Roberta Lane. Infuriated, she heads to the couple's weekend house in Connecticut and takes a concoction to fall asleep.
When corporate embezzler Waldo Zane, fleeing New York with an attache case full of money, develops car trouble near Margaret's weekend house, he lets himself in and unwittingly takes some of the elixir himself, falling into a deep sleep beside her.
Peter shows up, sees the two together and assumes his wife has been unfaithful. Despite their claims of innocence and ignorance, Peter believes neither of them and heads back to Manhattan.
Margaret's agent Ladislaus Walichek, anxious because she has announced her plan to retire, keeps her husband's jealousy burning in the hope their marriage will crumble and she'll be forced to continue working to support herself.
Margaret and Peter eventually reconcile, but new questions about what really happened when the lights went out arise when she gives birth exactly nine months after that fateful night.
Output: Who does Margaret's agent hope Margaret doesn't reconcile with?
Passage: November 9, 1965: Margaret Garrison is a stage actress who has spent her career starring in virginal roles, although she would relish the opportunity to play someone less savory, such as an Italian prostitute, at least once before she retires. When a blackout shutters her current Broadway play for the night, she returns home unexpectedly and discovers her architect husband Peter being overly attentive to attractive reporter Roberta Lane. Infuriated, she heads to the couple's weekend house in Connecticut and takes a concoction to fall asleep.
When corporate embezzler Waldo Zane, fleeing New York with an attache case full of money, develops car trouble near Margaret's weekend house, he lets himself in and unwittingly takes some of the elixir himself, falling into a deep sleep beside her.
Peter shows up, sees the two together and assumes his wife has been unfaithful. Despite their claims of innocence and ignorance, Peter believes neither of them and heads back to Manhattan.
Margaret's agent Ladislaus Walichek, anxious because she has announced her plan to retire, keeps her husband's jealousy burning in the hope their marriage will crumble and she'll be forced to continue working to support herself.
Margaret and Peter eventually reconcile, but new questions about what really happened when the lights went out arise when she gives birth exactly nine months after that fateful night.
Output: What is the full name of the person that Peter's interactions with the reporter infuriate?
Passage: The first recorded inhabitants of the Susquehanna River valley were the Susquehannocks, an Iroquoian speaking people. Their name meant "people of the muddy river" in the Algonquian, but their name for themselves is unknown. Decimated by diseases and warfare, they had largely died out, moved away, or been assimilated into other tribes by the early 18th century. The lands of the West Branch Susquehanna River valley were then chiefly occupied by the Munsee phratry of the Lenape (or Delaware), and were under the nominal control of the Five (later Six) Nations of the Iroquois. Two important paths of these native indigenous peoples ran along parts of White Deer Hole Creek.The Great Island Path was a major trail that ran north along the Susquehanna River from the Saponi village of Shamokin at modern Sunbury, fording the river there and following the west bank of the West Branch Susquehanna River north until White Deer Hole valley. The path turned west at Allenwood and followed White Deer Hole Creek until about the present location of Elimsport. There it headed northwest, crossed North White Deer Ridge and passed west through the Nippenose valley, then turned north and crossed Bald Eagle Mountain via McElhattan Creek and ran along the south bank of the river to the Great Island (near the present day city of Lock Haven). The stretch from the mouth of the creek to the Nippenose valley is approximately followed by Route 44. From the Great Island, the Great Shamokin Path continued further west to the modern boroughs of Clearfield and Kittanning, the last on the Allegheny River.
Culbertson's Path followed White Deer Hole Creek west from Allenwood, then followed Spring Creek north, crossed Bald Eagle Mountain and followed Mosquito Run to the river at the current borough of Duboistown. Here it crossed the river to "French Margaret's Town" (western modern day Williamsport) before joining the major Sheshequin Path, which led north up Lycoming Creek to the North Branch of the Susquehanna River, modern New York, and the Iroquois there. These trails were only wide enough for one person, but settlers in White Deer Hole valley broadened the path to DuBoistown to take grain to Culbertson's mill on Mosquito Run, hence the name. Culbertson's Path was used as a part of the Underground Railroad until the American Civil War began in 1861. Escaped slaves would often wade in creeks to hide their scent from pursuing bloodhounds. In 2009, there is still a "Culbertson's Trail", for hiking over Bald Eagle Mountain from Pennsylvania Route 554 to Duboistown.
Output: What is the name of the location that the people who widened the trails settled in?
Passage: The first recorded inhabitants of the Susquehanna River valley were the Susquehannocks, an Iroquoian speaking people. Their name meant "people of the muddy river" in the Algonquian, but their name for themselves is unknown. Decimated by diseases and warfare, they had largely died out, moved away, or been assimilated into other tribes by the early 18th century. The lands of the West Branch Susquehanna River valley were then chiefly occupied by the Munsee phratry of the Lenape (or Delaware), and were under the nominal control of the Five (later Six) Nations of the Iroquois. Two important paths of these native indigenous peoples ran along parts of White Deer Hole Creek.The Great Island Path was a major trail that ran north along the Susquehanna River from the Saponi village of Shamokin at modern Sunbury, fording the river there and following the west bank of the West Branch Susquehanna River north until White Deer Hole valley. The path turned west at Allenwood and followed White Deer Hole Creek until about the present location of Elimsport. There it headed northwest, crossed North White Deer Ridge and passed west through the Nippenose valley, then turned north and crossed Bald Eagle Mountain via McElhattan Creek and ran along the south bank of the river to the Great Island (near the present day city of Lock Haven). The stretch from the mouth of the creek to the Nippenose valley is approximately followed by Route 44. From the Great Island, the Great Shamokin Path continued further west to the modern boroughs of Clearfield and Kittanning, the last on the Allegheny River.
Culbertson's Path followed White Deer Hole Creek west from Allenwood, then followed Spring Creek north, crossed Bald Eagle Mountain and followed Mosquito Run to the river at the current borough of Duboistown. Here it crossed the river to "French Margaret's Town" (western modern day Williamsport) before joining the major Sheshequin Path, which led north up Lycoming Creek to the North Branch of the Susquehanna River, modern New York, and the Iroquois there. These trails were only wide enough for one person, but settlers in White Deer Hole valley broadened the path to DuBoistown to take grain to Culbertson's mill on Mosquito Run, hence the name. Culbertson's Path was used as a part of the Underground Railroad until the American Civil War began in 1861. Escaped slaves would often wade in creeks to hide their scent from pursuing bloodhounds. In 2009, there is still a "Culbertson's Trail", for hiking over Bald Eagle Mountain from Pennsylvania Route 554 to Duboistown.
Output: What was the name of the trail that was used by escaped slaves during the American Civil War?
Passage: The first recorded inhabitants of the Susquehanna River valley were the Susquehannocks, an Iroquoian speaking people. Their name meant "people of the muddy river" in the Algonquian, but their name for themselves is unknown. Decimated by diseases and warfare, they had largely died out, moved away, or been assimilated into other tribes by the early 18th century. The lands of the West Branch Susquehanna River valley were then chiefly occupied by the Munsee phratry of the Lenape (or Delaware), and were under the nominal control of the Five (later Six) Nations of the Iroquois. Two important paths of these native indigenous peoples ran along parts of White Deer Hole Creek.The Great Island Path was a major trail that ran north along the Susquehanna River from the Saponi village of Shamokin at modern Sunbury, fording the river there and following the west bank of the West Branch Susquehanna River north until White Deer Hole valley. The path turned west at Allenwood and followed White Deer Hole Creek until about the present location of Elimsport. There it headed northwest, crossed North White Deer Ridge and passed west through the Nippenose valley, then turned north and crossed Bald Eagle Mountain via McElhattan Creek and ran along the south bank of the river to the Great Island (near the present day city of Lock Haven). The stretch from the mouth of the creek to the Nippenose valley is approximately followed by Route 44. From the Great Island, the Great Shamokin Path continued further west to the modern boroughs of Clearfield and Kittanning, the last on the Allegheny River.
Culbertson's Path followed White Deer Hole Creek west from Allenwood, then followed Spring Creek north, crossed Bald Eagle Mountain and followed Mosquito Run to the river at the current borough of Duboistown. Here it crossed the river to "French Margaret's Town" (western modern day Williamsport) before joining the major Sheshequin Path, which led north up Lycoming Creek to the North Branch of the Susquehanna River, modern New York, and the Iroquois there. These trails were only wide enough for one person, but settlers in White Deer Hole valley broadened the path to DuBoistown to take grain to Culbertson's mill on Mosquito Run, hence the name. Culbertson's Path was used as a part of the Underground Railroad until the American Civil War began in 1861. Escaped slaves would often wade in creeks to hide their scent from pursuing bloodhounds. In 2009, there is still a "Culbertson's Trail", for hiking over Bald Eagle Mountain from Pennsylvania Route 554 to Duboistown.
Output: What crossed the river to French Margaret's Town?
Passage: The July 2009 Ürümqi riots were a series of violent riots over several days that broke out on 5 July 2009 in Ürümqi, the capital city of the Xinjiang Uyghur Autonomous Region (XUAR), in northwestern People's Republic of China (PRC). The first day's rioting, which involved at least 1,000 Uyghurs, began as a protest but escalated into violent attacks that mainly targeted Han Chinese people. China's People's Armed Police were deployed, and two days later hundreds of Han people clashed with both police and Uyghurs. PRC officials said that a total of 197 people died, among those killed most of them are Hans, with 1,721 others injured and many vehicles and buildings destroyed; however, Uyghur exile groups say the death toll is higher. Many  men disappeared during wide-scale police sweeps in the days following the riots; Human Rights Watch (HRW) documented 43 cases and said figures for real disappearances were likely to be much higher.Rioting began when the police confronted the march calling for a full investigation into the Shaoguan incident, a brawl in southern China several days earlier in which two Uyghurs had been killed. However, observers disagree on what caused the protests to become violent. The PRC central government alleged that the riots themselves were planned from abroad by the World Uyghur Congress (WUC) and its leader Rebiya Kadeer, while Kadeer denies fomenting the violence in her fight for Uyghur "self-determination." Uyghur exile groups claim that the escalation was caused by the police's use of excessive force.Chinese media coverage of the Ürümqi riots was extensive, and was compared favourably to that of the unrest in Tibet in 2008. When the riots began, telephone and internet connections with Xinjiang were cut off. In the weeks that followed, official sources reported that over 1,000 Uyghurs were arrested and detained; Uyghur-run mosques were temporarily closed. The communication limitations and armed police presence remained in place as of January 2010. By November 2009, over 400 individuals faced criminal charges for their actions during the riots. Nine were executed in November 2009, and by February 2010, at least 26 had received death sentences.
Output: How many people faced criminal charges in November 2009 for the series of violent riots over several days?
Passage: The July 2009 Ürümqi riots were a series of violent riots over several days that broke out on 5 July 2009 in Ürümqi, the capital city of the Xinjiang Uyghur Autonomous Region (XUAR), in northwestern People's Republic of China (PRC). The first day's rioting, which involved at least 1,000 Uyghurs, began as a protest but escalated into violent attacks that mainly targeted Han Chinese people. China's People's Armed Police were deployed, and two days later hundreds of Han people clashed with both police and Uyghurs. PRC officials said that a total of 197 people died, among those killed most of them are Hans, with 1,721 others injured and many vehicles and buildings destroyed; however, Uyghur exile groups say the death toll is higher. Many  men disappeared during wide-scale police sweeps in the days following the riots; Human Rights Watch (HRW) documented 43 cases and said figures for real disappearances were likely to be much higher.Rioting began when the police confronted the march calling for a full investigation into the Shaoguan incident, a brawl in southern China several days earlier in which two Uyghurs had been killed. However, observers disagree on what caused the protests to become violent. The PRC central government alleged that the riots themselves were planned from abroad by the World Uyghur Congress (WUC) and its leader Rebiya Kadeer, while Kadeer denies fomenting the violence in her fight for Uyghur "self-determination." Uyghur exile groups claim that the escalation was caused by the police's use of excessive force.Chinese media coverage of the Ürümqi riots was extensive, and was compared favourably to that of the unrest in Tibet in 2008. When the riots began, telephone and internet connections with Xinjiang were cut off. In the weeks that followed, official sources reported that over 1,000 Uyghurs were arrested and detained; Uyghur-run mosques were temporarily closed. The communication limitations and armed police presence remained in place as of January 2010. By November 2009, over 400 individuals faced criminal charges for their actions during the riots. Nine were executed in November 2009, and by February 2010, at least 26 had received death sentences.
Output: How many people were executed by the end of 2009 for their roles in the riots that involved at least 1,000 Uyghurs on the first day?
Passage: The July 2009 Ürümqi riots were a series of violent riots over several days that broke out on 5 July 2009 in Ürümqi, the capital city of the Xinjiang Uyghur Autonomous Region (XUAR), in northwestern People's Republic of China (PRC). The first day's rioting, which involved at least 1,000 Uyghurs, began as a protest but escalated into violent attacks that mainly targeted Han Chinese people. China's People's Armed Police were deployed, and two days later hundreds of Han people clashed with both police and Uyghurs. PRC officials said that a total of 197 people died, among those killed most of them are Hans, with 1,721 others injured and many vehicles and buildings destroyed; however, Uyghur exile groups say the death toll is higher. Many  men disappeared during wide-scale police sweeps in the days following the riots; Human Rights Watch (HRW) documented 43 cases and said figures for real disappearances were likely to be much higher.Rioting began when the police confronted the march calling for a full investigation into the Shaoguan incident, a brawl in southern China several days earlier in which two Uyghurs had been killed. However, observers disagree on what caused the protests to become violent. The PRC central government alleged that the riots themselves were planned from abroad by the World Uyghur Congress (WUC) and its leader Rebiya Kadeer, while Kadeer denies fomenting the violence in her fight for Uyghur "self-determination." Uyghur exile groups claim that the escalation was caused by the police's use of excessive force.Chinese media coverage of the Ürümqi riots was extensive, and was compared favourably to that of the unrest in Tibet in 2008. When the riots began, telephone and internet connections with Xinjiang were cut off. In the weeks that followed, official sources reported that over 1,000 Uyghurs were arrested and detained; Uyghur-run mosques were temporarily closed. The communication limitations and armed police presence remained in place as of January 2010. By November 2009, over 400 individuals faced criminal charges for their actions during the riots. Nine were executed in November 2009, and by February 2010, at least 26 had received death sentences.
Output: How many people received death sentences in early 2010 for their role in the riots that involved a total of 197 people that died?
Passage: The story begins when Heidi, a little five-year-old girl, is brought up to the Swiss Alps by her Aunt Dete, who took care of the little girl ever since the passing of her two parents. Dete leaves Heidi with her grandfather, who lives alone up in the mountains, and though at first the old man refuses, Dete insists and he finally agrees to take her in but sends Dete away discourteously. Heidi's sweet, innocent nature slowly wins the heart of her grandfather and they soon grow fond of each other. Heidi wonders about every aspect of her new life in the mountains and has questions about all sorts of things. She befriends Peter, a young boy slightly older than she, whose job it is to lead the many goats up to the mountains every day. However, just as Heidi decides that she could never love anything more than life up in the mountains, Dete returns to take her away from her grandfather and to the city of Frankfurt in Germany, where she expects the girl to serve as a companion for the Sessemann's invalid daughter Clara. Though she misses her grandfather and the goats dearly, once in Frankfurt, Heidi becomes the best of friends with Clara and is saddened by her inability to walk. After many conflicts with Madam Rottenmeier, the strict care-taker at the Sesseman's, at her birthday party, Clara gives Heidi what she thinks she wants most: a train ticket to Switzerland, to her grandfather and old friends. Another surprise awaits Heidi and her grandfather as Clara and her grandmother come to visit them up at their home in the mountains.
Output: Whose parents passed away?