niryuu/sni-each-converted huggingface dataset:
Passage: Chinese state-controlled television broadcast graphic footage of cars being smashed and people being beaten. Officials reiterated the party line: XUAR chairman Nur Bekri delivered a lengthy address on the situation and on the Shaoguan incident, and claimed that the government of both Guangdong and Xinjiang had dealt with the deaths of the workers properly and with respect. Bekri further condemned the riots as "premeditated and planned"; Eligen Imibakhi, chairman of the Standing Committee of the Xinjiang Regional People's Congress, blamed 5 July riots on "extremism, separatism and terrorism".
The Chinese media covered the rioting extensively. Hours after troops stopped the rioting, the state invited foreign journalists on an official fact-finding trip to Ürümqi; journalists from more than 100 media organisations were all corralled into the downtown Hoi Tak Hotel, sharing 30 internet connections. Journalists were given unprecedented access to troublespots and hospitals. The Financial Times referred to this handling as an improvement, compared to the "public-relations disaster" of the Tibetan unrest in 2008.In an effort to soothe tensions immediately after the riots, state media began a mass publicity campaign throughout Xinjiang extolling ethnic harmony. Local television programmes united Uyghur and Han singers in a chorus of "We are all part of the same family"; Uygurs who "acted heroically" during the riots were profiled; loud-hailer trucks blasted slogans in the streets. A common slogan warned against the "three forces" of terrorism, separatism and extremism.President Hu Jintao curtailed his attendance of the G8 summit in Italy, convened an emergency meeting of the Politburo, and dispatched Standing Committee member Zhou Yongkang to Xinjiang to "guid[e] stability-preservation work in Xinjiang". South China Morning Post reported a government source saying Beijing would re-evaluate the impact on arrangements for the country's forthcoming 60th anniversary celebrations in October. Guangdong's CPC Provincial Committee Secretary, Wang Yang, noted that the government policies towards ethnic minorities "definitely need adjustments", otherwise "there will be some problems." A security planner said the authorities planned to fly in more troops from other stations to raise the number of armed police presence to 130,000 before the 60th anniversary celebrations in October.After the riots, the Chinese government exercised diplomatic pressure on nations that Rebiya Kadeer was scheduled to visit. In late July, India declined Kadeer a visa "on the advice of Beijing", and Beijing summoned the Japanese ambassador in protest of a trip Kadeer made to Japan. When Kadeer visited Australia in August to promote a film about her life, China officially complained to the Australian government and asked for the film to be withdrawn.
Output: What is the first name of the person who visited Australia?
Passage: Chinese state-controlled television broadcast graphic footage of cars being smashed and people being beaten. Officials reiterated the party line: XUAR chairman Nur Bekri delivered a lengthy address on the situation and on the Shaoguan incident, and claimed that the government of both Guangdong and Xinjiang had dealt with the deaths of the workers properly and with respect. Bekri further condemned the riots as "premeditated and planned"; Eligen Imibakhi, chairman of the Standing Committee of the Xinjiang Regional People's Congress, blamed 5 July riots on "extremism, separatism and terrorism".
The Chinese media covered the rioting extensively. Hours after troops stopped the rioting, the state invited foreign journalists on an official fact-finding trip to Ürümqi; journalists from more than 100 media organisations were all corralled into the downtown Hoi Tak Hotel, sharing 30 internet connections. Journalists were given unprecedented access to troublespots and hospitals. The Financial Times referred to this handling as an improvement, compared to the "public-relations disaster" of the Tibetan unrest in 2008.In an effort to soothe tensions immediately after the riots, state media began a mass publicity campaign throughout Xinjiang extolling ethnic harmony. Local television programmes united Uyghur and Han singers in a chorus of "We are all part of the same family"; Uygurs who "acted heroically" during the riots were profiled; loud-hailer trucks blasted slogans in the streets. A common slogan warned against the "three forces" of terrorism, separatism and extremism.President Hu Jintao curtailed his attendance of the G8 summit in Italy, convened an emergency meeting of the Politburo, and dispatched Standing Committee member Zhou Yongkang to Xinjiang to "guid[e] stability-preservation work in Xinjiang". South China Morning Post reported a government source saying Beijing would re-evaluate the impact on arrangements for the country's forthcoming 60th anniversary celebrations in October. Guangdong's CPC Provincial Committee Secretary, Wang Yang, noted that the government policies towards ethnic minorities "definitely need adjustments", otherwise "there will be some problems." A security planner said the authorities planned to fly in more troops from other stations to raise the number of armed police presence to 130,000 before the 60th anniversary celebrations in October.After the riots, the Chinese government exercised diplomatic pressure on nations that Rebiya Kadeer was scheduled to visit. In late July, India declined Kadeer a visa "on the advice of Beijing", and Beijing summoned the Japanese ambassador in protest of a trip Kadeer made to Japan. When Kadeer visited Australia in August to promote a film about her life, China officially complained to the Australian government and asked for the film to be withdrawn.
Output: What is the first name of the person who had a film made about her life?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the first name of the person that Denis Arnold has criticized for his use of oboe and trumpet flourishes?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the first name of the person who showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the first name of the person who uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the first name of the person who accepts that "a staged performance would almost certainly require a different approach"?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What was the name of the piece that had a revival in 1962?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What piece did Herbert bon Karajan conduct in 1963?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: Where was the revival of L'incoronazione started?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the full name of the person that their version of L'incoronazione was critisized for the use of oboe and trumpet flourishes?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the last name of the person who conducted the 2010 production of L'incoronazione?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the last name of the man who directed the first videotape version of performance that won a Grand Prix du Disque?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the last name of the man who performed the piece that won the Grand Prix du Disque in 2008 with period instruments?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the full name of the person whose use of oboe and trumpet flourishes are criticized by Arnold?
Passage: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zürich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), René Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed by Harnoncourt with the Zurich Opera and chorus. Leppard's second Glyndebourne production, that of 1984, was released in DVD form in 2004.  Since then, productions directed by Jacobs, Christophe Rousset and Marc Minkowski have all been released on DVD, along with Emmanuelle Haïm's 2008 Glyndebourne production in which the Festival finally rejects Leppard's big band version in favour of Haim's period instruments, to give an experience closer to that of the original audience. The 2010 production at the Teatro Real in Madrid, conducted by William Christie, was released on DVD in 2012.
Output: What is the name of the opera whose only recording in English was broadcast by the BBC and recorded on 27 November 1971?
Passage: In the months following Surfer Rosa, the Pixies' management fielded calls from a number of labels. Elektra Records A&R scout Peter Lubin first saw the band in October 1988, when they opened for The Jesus and Mary Chain. He immediately sought to convince the band to sign to his label. Pixies contracted to Elektra Records during a UK spring tour in 1989. Elektra followed by releasing a live promotional album, which contained two songs from their forthcoming album, "Debaser" and "Gouge Away", along with a selection of earlier material.However Elektra had not yet attained distribution rights to the band's forthcoming album. 4AD, then a small British independent record label, held worldwide distribution rights to the Pixies, but did not have access to distribution outside of the United Kingdom; the band had had to import all its previous records from Europe. The Pixies' management sought international distribution; and while negotiations with Elektra and other record companies began in the third quarter of 1988, they were only completed just two weeks before Doolittle's release on April 2, 1989. PolyGram had already secured Canadian distribution rights by that time.Doolittle was released in the United Kingdom on April 17, 1989, and in the United States the following day. Throughout the States, helped by Elektra Records' major label status, retail displays were constructed for the record, and "Monkey Gone to Heaven", the first single from the album, was released to radio stations for inclusion on playlists. Doolittle's chart performance in the United States was unremarkable; the album entered the Billboard 200 at number 171. However, with the help of college radio-play of "Monkey Gone to Heaven", Doolittle eventually rose to number 98 and spent two weeks in the Top 100. In Britain, the record reached number eight on the UK Album Chart. This chart placing was an unexpected success for the band, as their previous two records, Come On Pilgrim and Surfer Rosa, had failed to make such an impact on the British charts.In June 1989, 4AD released "Here Comes Your Man" as the album's second single. It reached number three on the US Modern Rock Tracks chart and number 56 in the UK Singles Chart. It was not the last single from the album: in 1997, "Debaser" was released as a single to promote the Death to the Pixies compilation.
Output: Who opened for The Jesus and Mary Chain in October 1988?
Passage: In the months following Surfer Rosa, the Pixies' management fielded calls from a number of labels. Elektra Records A&R scout Peter Lubin first saw the band in October 1988, when they opened for The Jesus and Mary Chain. He immediately sought to convince the band to sign to his label. Pixies contracted to Elektra Records during a UK spring tour in 1989. Elektra followed by releasing a live promotional album, which contained two songs from their forthcoming album, "Debaser" and "Gouge Away", along with a selection of earlier material.However Elektra had not yet attained distribution rights to the band's forthcoming album. 4AD, then a small British independent record label, held worldwide distribution rights to the Pixies, but did not have access to distribution outside of the United Kingdom; the band had had to import all its previous records from Europe. The Pixies' management sought international distribution; and while negotiations with Elektra and other record companies began in the third quarter of 1988, they were only completed just two weeks before Doolittle's release on April 2, 1989. PolyGram had already secured Canadian distribution rights by that time.Doolittle was released in the United Kingdom on April 17, 1989, and in the United States the following day. Throughout the States, helped by Elektra Records' major label status, retail displays were constructed for the record, and "Monkey Gone to Heaven", the first single from the album, was released to radio stations for inclusion on playlists. Doolittle's chart performance in the United States was unremarkable; the album entered the Billboard 200 at number 171. However, with the help of college radio-play of "Monkey Gone to Heaven", Doolittle eventually rose to number 98 and spent two weeks in the Top 100. In Britain, the record reached number eight on the UK Album Chart. This chart placing was an unexpected success for the band, as their previous two records, Come On Pilgrim and Surfer Rosa, had failed to make such an impact on the British charts.In June 1989, 4AD released "Here Comes Your Man" as the album's second single. It reached number three on the US Modern Rock Tracks chart and number 56 in the UK Singles Chart. It was not the last single from the album: in 1997, "Debaser" was released as a single to promote the Death to the Pixies compilation.
Output: Who did Peter Lubin sign to the Elektra Records label?
Passage: In the months following Surfer Rosa, the Pixies' management fielded calls from a number of labels. Elektra Records A&R scout Peter Lubin first saw the band in October 1988, when they opened for The Jesus and Mary Chain. He immediately sought to convince the band to sign to his label. Pixies contracted to Elektra Records during a UK spring tour in 1989. Elektra followed by releasing a live promotional album, which contained two songs from their forthcoming album, "Debaser" and "Gouge Away", along with a selection of earlier material.However Elektra had not yet attained distribution rights to the band's forthcoming album. 4AD, then a small British independent record label, held worldwide distribution rights to the Pixies, but did not have access to distribution outside of the United Kingdom; the band had had to import all its previous records from Europe. The Pixies' management sought international distribution; and while negotiations with Elektra and other record companies began in the third quarter of 1988, they were only completed just two weeks before Doolittle's release on April 2, 1989. PolyGram had already secured Canadian distribution rights by that time.Doolittle was released in the United Kingdom on April 17, 1989, and in the United States the following day. Throughout the States, helped by Elektra Records' major label status, retail displays were constructed for the record, and "Monkey Gone to Heaven", the first single from the album, was released to radio stations for inclusion on playlists. Doolittle's chart performance in the United States was unremarkable; the album entered the Billboard 200 at number 171. However, with the help of college radio-play of "Monkey Gone to Heaven", Doolittle eventually rose to number 98 and spent two weeks in the Top 100. In Britain, the record reached number eight on the UK Album Chart. This chart placing was an unexpected success for the band, as their previous two records, Come On Pilgrim and Surfer Rosa, had failed to make such an impact on the British charts.In June 1989, 4AD released "Here Comes Your Man" as the album's second single. It reached number three on the US Modern Rock Tracks chart and number 56 in the UK Singles Chart. It was not the last single from the album: in 1997, "Debaser" was released as a single to promote the Death to the Pixies compilation.
Output: What album contained the song "Monkey Gone to Heaven"?