niryuu/sni-each-converted huggingface dataset:
Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.
 While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Façade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László, had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.
Output: What is the last name of the person who proposed to Susana?
Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.
 While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Façade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László, had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.
Output: What is the last name of the person who accepted Walton's proposal?
Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.
 While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Façade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László, had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.
Output: What are the last names of the people whose wedding was held in Buenos Aires in December 1948?
Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.
 While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Façade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László, had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.
Output: What are the last name of the two people who moved to Ischia permanently by the mid-1950s?
Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.
 While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Façade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László, had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.
Output: What is the last name of the person who prepared an authorised version of Façade?
Passage: In 1947, Walton was presented with the Royal Philharmonic Society's Gold Medal. In the same year he accepted an invitation from the BBC to compose his first opera. He decided to base it on Chaucer's Troilus and Criseyde, but his preliminary work came to a halt in April 1948 when Alice Wimborne died. To take Walton's mind off his grief, the music publisher Leslie Boosey persuaded him to be a British delegate to a conference on copyright in Buenos Aires later that year.
 While there, Walton met Susana Gil Passo (1926–2010), daughter of an Argentine lawyer. At 22 she was 24 years younger than Walton (Alice Wimborne had been 22 years his senior), and at first she ridiculed his romantic interest in her. He persisted, and she eventually accepted his proposal of marriage. The wedding was held in Buenos Aires in December 1948. From the start of their marriage, the couple spent half the year on the Italian island of Ischia, and by the mid-1950s they lived there permanently.Walton's last work of the 1940s was his music for Olivier's film of Hamlet (1948). After that, he focused his attentions on his opera Troilus and Cressida. On the advice of the BBC, he invited Christopher Hassall to write the libretto. This did not help Walton's relations with the Sitwells, each of whom thought he or she should have been asked to be his librettist. Work continued slowly over the next few years, with many breaks while Walton turned to other things. In 1950 he and Heifetz recorded the Violin Concerto for EMI. In 1951 Walton was knighted. In the same year, he prepared an authorised version of Façade, which had undergone many revisions since its premiere. In 1953, following the accession of Elizabeth II he was again called on to write a coronation march, Orb and Sceptre; he was also commissioned to write a choral setting of the Te Deum for the occasion.Troilus and Cressida was presented at Covent Garden on 3 December 1954. Its preparation was dogged by misfortunes. Olivier, originally scheduled to direct it, backed out, as did Henry Moore who had agreed to design the production; Elisabeth Schwarzkopf, for whom the role of Cressida had been written, refused to perform it; her replacement, Magda László, had difficulty mastering the English words; and Sargent, the conductor, "did not seem well acquainted with the score". The premiere had a friendly reception, but there was a general feeling that Hassall and Walton had written an old-fashioned opera in an outmoded tradition. The piece was subsequently staged in San Francisco, New York and Milan during the next year, but failed to make a positive impression, and did not enter the regular operatic repertory.
Output: What is the last name of the person who was asked to write Orb and Sceptre?
Passage: Alodia, also known as Alwa (Greek: Aρουα, Aroua; Arabic: علوة‎, ʿAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.
Founded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th–12th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of "extensive dwellings and churches full of gold and gardens", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.
From the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.
Output: What was the last of the three Nubian kingdoms to convert to Christianity in 580?
Passage: Alodia, also known as Alwa (Greek: Aρουα, Aroua; Arabic: علوة‎, ʿAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.
Founded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th–12th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of "extensive dwellings and churches full of gold and gardens", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.
From the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.
Output: What kingdom reached its peak during the 9th–12th centuries when records show that it exceeded its northern neighbor?
Passage: Alodia, also known as Alwa (Greek: Aρουα, Aroua; Arabic: علوة‎, ʿAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.
Founded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th–12th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of "extensive dwellings and churches full of gold and gardens", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.
From the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.
Output: What kingdom maintained close dynastic ties, in size, military power and economic prosperity with Makuria?
Passage: Alodia, also known as Alwa (Greek: Aρουα, Aroua; Arabic: علوة‎, ʿAlwa), was a medieval Nubian kingdom in what is now central and southern Sudan. Its capital was the city of Soba, located near modern-day Khartoum at the confluence of the Blue and White Nile rivers.
Founded sometime after the ancient kingdom of Kush fell, in around 350 AD, Alodia is first mentioned in historical records in 569. It was the last of the three Nubian kingdoms to convert to Christianity in 580 following Nobadia and Makuria. It possibly reached its peak during the 9th–12th centuries when records show that it exceeded its northern neighbor, Makuria, with which it maintained close dynastic ties, in size, military power and economic prosperity. Being a large, multicultural state, Alodia was administered by a powerful king and provincial governors appointed by him. The capital Soba, described as a town of "extensive dwellings and churches full of gold and gardens", prospered as a trading hub. Goods arrived from Makuria, the Middle East, western Africa, India and even China. Literacy in both Nubian and Greek flourished.
From the 12th, and especially the 13th century, Alodia was declining, possibly because of invasions from the south, droughts and a shift of trade routes. In the 14th century, the country might have been ravaged by the plague, while Arab tribes began to migrate into the Upper Nile valley. By around 1500 Soba had fallen to either Arabs or the Funj. This likely marked the end of Alodia, although some Sudanese oral traditions claimed that it survived in the form of the kingdom of Fazughli within the Ethiopian-Sudanese borderlands. After the destruction of Soba, the Funj established the Sultanate of Sennar, ushering in a period of Islamization and Arabization.
Output: What likely marked the end of Alodia?
Passage: Another major influence in his work was the rise of interest in vernacular architecture. By the time Douglas moved to Chester, the black-and-white revival using half-timbering was well under way, and Douglas came to incorporate this style in his buildings in Chester and elsewhere. The black-and-white revival did not start in Chester, but it did become Chester's speciality. The first Chester architect involved in the revival had been Thomas Mainwaring Penson, whose first work in this genre was the restoration of a shop in Eastgate Street in the early 1850s. Other early Chester architects involved in the revival were T. A. Richardson and James Harrison and it came to be developed mainly by T. M. Lockwood and by Douglas. Part of Douglas's earliest work for the Grosvenor family, the entrance lodge to Grosvenor Park, used half-timbering in its upper storey; this is the first known use by Douglas of black-and-white. Other vernacular motifs were taken from earlier styles of English architecture, in particular, the Tudor style. These include tile-hanging, pargetting and massive brick ribbed chimney stacks. In this style, Douglas was influenced by the architects Nesfield and Shaw. Douglas also used vernacular elements from the continent, especially the late medieval brickwork of Germany and the Low Countries.A characteristic of Douglas's work is his attention to both external and internal detailing. Such detailing was not derived from any particular style and Douglas chose elements from whichever style suited his purpose for each specific project. His detailing applied particularly to his joinery, perhaps inspired by his experience in his father's workshop, and was applied both to wooden fittings and to the furniture he designed. A further Continental influence was his use of a Dutch gable. The most important and consistently used element in Douglas's vernacular buildings was his use of half-timbering, which was usually used for parts of the building. However, in the cases of Rowden Abbey and St Michael and All Angels Church, Altcar, the entire buildings were timber-framed.
Output: Half-timbering is a component of what type of architecture?
Passage: Another major influence in his work was the rise of interest in vernacular architecture. By the time Douglas moved to Chester, the black-and-white revival using half-timbering was well under way, and Douglas came to incorporate this style in his buildings in Chester and elsewhere. The black-and-white revival did not start in Chester, but it did become Chester's speciality. The first Chester architect involved in the revival had been Thomas Mainwaring Penson, whose first work in this genre was the restoration of a shop in Eastgate Street in the early 1850s. Other early Chester architects involved in the revival were T. A. Richardson and James Harrison and it came to be developed mainly by T. M. Lockwood and by Douglas. Part of Douglas's earliest work for the Grosvenor family, the entrance lodge to Grosvenor Park, used half-timbering in its upper storey; this is the first known use by Douglas of black-and-white. Other vernacular motifs were taken from earlier styles of English architecture, in particular, the Tudor style. These include tile-hanging, pargetting and massive brick ribbed chimney stacks. In this style, Douglas was influenced by the architects Nesfield and Shaw. Douglas also used vernacular elements from the continent, especially the late medieval brickwork of Germany and the Low Countries.A characteristic of Douglas's work is his attention to both external and internal detailing. Such detailing was not derived from any particular style and Douglas chose elements from whichever style suited his purpose for each specific project. His detailing applied particularly to his joinery, perhaps inspired by his experience in his father's workshop, and was applied both to wooden fittings and to the furniture he designed. A further Continental influence was his use of a Dutch gable. The most important and consistently used element in Douglas's vernacular buildings was his use of half-timbering, which was usually used for parts of the building. However, in the cases of Rowden Abbey and St Michael and All Angels Church, Altcar, the entire buildings were timber-framed.
Output: Who showed a Continental influence in his use of the Dutch gable?
Passage: Inside the church of Sant'Andrea della Valle
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.
The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.
Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.
Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").
After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.
The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.
Output: What is the full name of the person whose sister has left a key to the chapel hidden at the feet of the statue of the Madonna?
Passage: Inside the church of Sant'Andrea della Valle
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.
The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.
Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.
Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").
After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.
The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.
Output: What is the precise name of the church into which the escaped political prisoner, Angelotti, runs?
Passage: Inside the church of Sant'Andrea della Valle
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.
The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.
Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.
Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").
After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.
The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.
Output: What is the exact name of the church recently visited by a blonde haired woman?
Passage: Inside the church of Sant'Andrea della Valle
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.
The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.
Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.
Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").
After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.
The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.
Output: What is the full name of the person whose dark-haired lover is the singer Floria Tosca?
Passage: Inside the church of Sant'Andrea della Valle
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.
The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.
Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.
Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").
After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.
The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.
Output: What is the full name of the person being pursued by the Chief of Police?
Passage: Inside the church of Sant'Andrea della Valle
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds.
The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving.
Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place.
Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world").
After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using clothes left in the chapel by his sister. Cavaradossi gives Angelotti a key to his villa, suggesting that he hide in a disused well in the garden.  The sound of a cannon signals that Angelotti's escape has been discovered. He and Cavaradossi hasten out of the church.
The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents. They have heard that Angelotti has sought refuge in the church. Scarpia orders a search, and the empty food basket and a fan bearing the Attavanti coat of arms are found in the chapel. Scarpia questions the Sacristan, and his suspicions are aroused further when he learns that Cavaradossi has been in the church; Scarpia mistrusts the painter, and believes him complicit in Angelotti's escape.
Output: What is the full name of the person Cavaradossi promises to assist after nightfall?