niryuu/sni-each-converted huggingface dataset:
Passage: In a letter to his friend and landlord Johann Lorenz Hagenauer (1712–1792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat Friedrich Melchior, Baron von Grimm, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer Wolfgang Hildesheimer has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, [the] father dragged [the] son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.Leopold wanted to begin the tour as soon as possible—the younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the Austrian Netherlands, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitals—Leopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money en route, while waiting for the proceeds from their performances to accumulate.Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently without any tutelage whatsoever. As for more general preparation, the children delighted in making music together, something they never lost. On tour, even during the busiest travelling days they would fit in their daily practice, appearing to thrive on the hectic schedule. Before the journey could begin, Leopold needed the consent of his employer, the prince-archbishop. Leopold had only been appointed deputy Kapellmeister in January 1763; nevertheless the archbishop's consent to an extended leave of absence was granted, on the grounds that the Mozarts' successes would bring glory to Salzburg, its ruler, and to God.
Output: What is the first name of the person who was granted an extended leave of absence?
Passage: In a letter to his friend and landlord Johann Lorenz Hagenauer (1712–1792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat Friedrich Melchior, Baron von Grimm, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer Wolfgang Hildesheimer has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, [the] father dragged [the] son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.Leopold wanted to begin the tour as soon as possible—the younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the Austrian Netherlands, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitals—Leopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money en route, while waiting for the proceeds from their performances to accumulate.Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently without any tutelage whatsoever. As for more general preparation, the children delighted in making music together, something they never lost. On tour, even during the busiest travelling days they would fit in their daily practice, appearing to thrive on the hectic schedule. Before the journey could begin, Leopold needed the consent of his employer, the prince-archbishop. Leopold had only been appointed deputy Kapellmeister in January 1763; nevertheless the archbishop's consent to an extended leave of absence was granted, on the grounds that the Mozarts' successes would bring glory to Salzburg, its ruler, and to God.
Output: What is the first name of the man who quotes a German diplomat in a letter?
Passage: In a letter to his friend and landlord Johann Lorenz Hagenauer (1712–1792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat Friedrich Melchior, Baron von Grimm, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer Wolfgang Hildesheimer has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, [the] father dragged [the] son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.Leopold wanted to begin the tour as soon as possible—the younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the Austrian Netherlands, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitals—Leopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money en route, while waiting for the proceeds from their performances to accumulate.Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently without any tutelage whatsoever. As for more general preparation, the children delighted in making music together, something they never lost. On tour, even during the busiest travelling days they would fit in their daily practice, appearing to thrive on the hectic schedule. Before the journey could begin, Leopold needed the consent of his employer, the prince-archbishop. Leopold had only been appointed deputy Kapellmeister in January 1763; nevertheless the archbishop's consent to an extended leave of absence was granted, on the grounds that the Mozarts' successes would bring glory to Salzburg, its ruler, and to God.
Output: What is the first name of the father of the boy was dragged around Europe?
Passage: In a letter to his friend and landlord Johann Lorenz Hagenauer (1712–1792), a prominent Salzburg merchant, written after the tour, Leopold quotes the German diplomat Friedrich Melchior, Baron von Grimm, who after hearing the children play had said: "Now for once in my life I have seen a miracle: this is the first". Leopold believed that it was his duty to proclaim this miracle to the world, otherwise he would be "the most ungrateful creature". He was said to have described Wolfgang as "The miracle which God let be born in Salzburg." Mozart biographer Wolfgang Hildesheimer has suggested that, at least in the case of Wolfgang, this venture was premature: "Too soon, [the] father dragged [the] son all over Western Europe for years. This continual change of scene would have worn out even a robust child..." However, there is little evidence to suggest that Wolfgang was physically harmed or musically hindered by these childhood exertions; it seems that he felt equal to the challenge from the start.Leopold wanted to begin the tour as soon as possible—the younger the children were, the more spectacular would be the demonstration of their gifts. The route he intended to take included southern Germany, the Austrian Netherlands, Paris, Switzerland and possibly northern Italy. The London leg was only added after urgings during the Paris visit, and the eventual Dutch trip was an unplanned detour. The plan was to take in as many princely European courts as possible, as well as the great cultural capitals—Leopold was relying on his professional musical network and on his more recent social contacts to obtain invitations from the royal courts. Practical assistance came from Hagenauer, whose trading connections in the major cities would supply the Mozarts with what were effectively banking facilities. These would enable them to obtain money en route, while waiting for the proceeds from their performances to accumulate.Wolfgang prepared for the tour by perfecting himself on the violin, which he had learned to play apparently without any tutelage whatsoever. As for more general preparation, the children delighted in making music together, something they never lost. On tour, even during the busiest travelling days they would fit in their daily practice, appearing to thrive on the hectic schedule. Before the journey could begin, Leopold needed the consent of his employer, the prince-archbishop. Leopold had only been appointed deputy Kapellmeister in January 1763; nevertheless the archbishop's consent to an extended leave of absence was granted, on the grounds that the Mozarts' successes would bring glory to Salzburg, its ruler, and to God.
Output: What is the first name of the man that used his musical connections to show off his son's gifts?
Passage: The Victory Tour of 1984 headlined the Jacksons and showcased Jackson's new solo material to more than two million Americans. It was the last tour he did with his brothers. Following controversy over the concert's ticket sales, Jackson donated his share of the proceeds, an estimated $3 to 5 million, to charity. His charitable work continued with the release of "We Are the World" (1985), co-written with Lionel Richie, which raised money for the poor in the US and Africa. It earned $63 million, and became one of the best-selling singles of all time, with 20 million copies sold. It won four Grammys for 1985, including Song of the Year for Jackson and Richie as its writers. The project's creators received two special American Music Awards honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Jones, and promoter Ken Kragan received special awards for their roles in the song's creation.Jackson collaborated with Paul McCartney in the early 1980s, and learned that McCartney was making $40 million a year from owning the rights to other artists' songs. By 1983, Jackson had begun buying publishing rights to others' songs, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson's early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included "Everyday People" (1968), Len Barry's "1-2-3" (1965), and Dion DiMucci's "The Wanderer" (1961) and "Runaround Sue" (1961).
In 1984 Robert Holmes à Court announced he was selling the ATV Music Publishing catalog comprising the publishing rights to nearly 4000 songs, including most of the Beatles' material. In 1981, McCartney had been offered the catalog for £20 million ($40 million). Jackson submitted a bid of $46 million on November 20, 1984. When Jackson and McCartney were unable to make a joint purchase, McCartney did not want to be the sole owner of the Beatles' songs, and did not pursue an offer on his own. Jackson's agents were unable to come to a deal, and in May 1985 left talks after having spent more than $1 million and four months of due diligence work on the negotiations. In June 1985, Jackson and Branca learned that Charles Koppelman's and Marty Bandier's The Entertainment Company had made a tentative offer to buy ATV Music for $50 million; in early August, Holmes à Court contacted Jackson and talks resumed. Jackson's increased bid of $47.5 million was accepted because he could close the deal more quickly, having already completed due diligence. Jackson also agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon. Jackson's purchase of ATV Music was finalized on August 10, 1985.
Output: What is the full name of the person that owned the rights to Runaround Sue?
Passage: The Victory Tour of 1984 headlined the Jacksons and showcased Jackson's new solo material to more than two million Americans. It was the last tour he did with his brothers. Following controversy over the concert's ticket sales, Jackson donated his share of the proceeds, an estimated $3 to 5 million, to charity. His charitable work continued with the release of "We Are the World" (1985), co-written with Lionel Richie, which raised money for the poor in the US and Africa. It earned $63 million, and became one of the best-selling singles of all time, with 20 million copies sold. It won four Grammys for 1985, including Song of the Year for Jackson and Richie as its writers. The project's creators received two special American Music Awards honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Jones, and promoter Ken Kragan received special awards for their roles in the song's creation.Jackson collaborated with Paul McCartney in the early 1980s, and learned that McCartney was making $40 million a year from owning the rights to other artists' songs. By 1983, Jackson had begun buying publishing rights to others' songs, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson's early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included "Everyday People" (1968), Len Barry's "1-2-3" (1965), and Dion DiMucci's "The Wanderer" (1961) and "Runaround Sue" (1961).
In 1984 Robert Holmes à Court announced he was selling the ATV Music Publishing catalog comprising the publishing rights to nearly 4000 songs, including most of the Beatles' material. In 1981, McCartney had been offered the catalog for £20 million ($40 million). Jackson submitted a bid of $46 million on November 20, 1984. When Jackson and McCartney were unable to make a joint purchase, McCartney did not want to be the sole owner of the Beatles' songs, and did not pursue an offer on his own. Jackson's agents were unable to come to a deal, and in May 1985 left talks after having spent more than $1 million and four months of due diligence work on the negotiations. In June 1985, Jackson and Branca learned that Charles Koppelman's and Marty Bandier's The Entertainment Company had made a tentative offer to buy ATV Music for $50 million; in early August, Holmes à Court contacted Jackson and talks resumed. Jackson's increased bid of $47.5 million was accepted because he could close the deal more quickly, having already completed due diligence. Jackson also agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon. Jackson's purchase of ATV Music was finalized on August 10, 1985.
Output: What is the name of the project for which creators received two special American Music Awards honors?
Passage: The Victory Tour of 1984 headlined the Jacksons and showcased Jackson's new solo material to more than two million Americans. It was the last tour he did with his brothers. Following controversy over the concert's ticket sales, Jackson donated his share of the proceeds, an estimated $3 to 5 million, to charity. His charitable work continued with the release of "We Are the World" (1985), co-written with Lionel Richie, which raised money for the poor in the US and Africa. It earned $63 million, and became one of the best-selling singles of all time, with 20 million copies sold. It won four Grammys for 1985, including Song of the Year for Jackson and Richie as its writers. The project's creators received two special American Music Awards honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Jones, and promoter Ken Kragan received special awards for their roles in the song's creation.Jackson collaborated with Paul McCartney in the early 1980s, and learned that McCartney was making $40 million a year from owning the rights to other artists' songs. By 1983, Jackson had begun buying publishing rights to others' songs, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson's early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included "Everyday People" (1968), Len Barry's "1-2-3" (1965), and Dion DiMucci's "The Wanderer" (1961) and "Runaround Sue" (1961).
In 1984 Robert Holmes à Court announced he was selling the ATV Music Publishing catalog comprising the publishing rights to nearly 4000 songs, including most of the Beatles' material. In 1981, McCartney had been offered the catalog for £20 million ($40 million). Jackson submitted a bid of $46 million on November 20, 1984. When Jackson and McCartney were unable to make a joint purchase, McCartney did not want to be the sole owner of the Beatles' songs, and did not pursue an offer on his own. Jackson's agents were unable to come to a deal, and in May 1985 left talks after having spent more than $1 million and four months of due diligence work on the negotiations. In June 1985, Jackson and Branca learned that Charles Koppelman's and Marty Bandier's The Entertainment Company had made a tentative offer to buy ATV Music for $50 million; in early August, Holmes à Court contacted Jackson and talks resumed. Jackson's increased bid of $47.5 million was accepted because he could close the deal more quickly, having already completed due diligence. Jackson also agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon. Jackson's purchase of ATV Music was finalized on August 10, 1985.
Output: What is the full name of the person who did not pursue an offer on his own?
Passage: The Victory Tour of 1984 headlined the Jacksons and showcased Jackson's new solo material to more than two million Americans. It was the last tour he did with his brothers. Following controversy over the concert's ticket sales, Jackson donated his share of the proceeds, an estimated $3 to 5 million, to charity. His charitable work continued with the release of "We Are the World" (1985), co-written with Lionel Richie, which raised money for the poor in the US and Africa. It earned $63 million, and became one of the best-selling singles of all time, with 20 million copies sold. It won four Grammys for 1985, including Song of the Year for Jackson and Richie as its writers. The project's creators received two special American Music Awards honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Jones, and promoter Ken Kragan received special awards for their roles in the song's creation.Jackson collaborated with Paul McCartney in the early 1980s, and learned that McCartney was making $40 million a year from owning the rights to other artists' songs. By 1983, Jackson had begun buying publishing rights to others' songs, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson's early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included "Everyday People" (1968), Len Barry's "1-2-3" (1965), and Dion DiMucci's "The Wanderer" (1961) and "Runaround Sue" (1961).
In 1984 Robert Holmes à Court announced he was selling the ATV Music Publishing catalog comprising the publishing rights to nearly 4000 songs, including most of the Beatles' material. In 1981, McCartney had been offered the catalog for £20 million ($40 million). Jackson submitted a bid of $46 million on November 20, 1984. When Jackson and McCartney were unable to make a joint purchase, McCartney did not want to be the sole owner of the Beatles' songs, and did not pursue an offer on his own. Jackson's agents were unable to come to a deal, and in May 1985 left talks after having spent more than $1 million and four months of due diligence work on the negotiations. In June 1985, Jackson and Branca learned that Charles Koppelman's and Marty Bandier's The Entertainment Company had made a tentative offer to buy ATV Music for $50 million; in early August, Holmes à Court contacted Jackson and talks resumed. Jackson's increased bid of $47.5 million was accepted because he could close the deal more quickly, having already completed due diligence. Jackson also agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon. Jackson's purchase of ATV Music was finalized on August 10, 1985.
Output: What is the last name of the person who only bid on a few of the dozens that were offered to him?
Passage: The Victory Tour of 1984 headlined the Jacksons and showcased Jackson's new solo material to more than two million Americans. It was the last tour he did with his brothers. Following controversy over the concert's ticket sales, Jackson donated his share of the proceeds, an estimated $3 to 5 million, to charity. His charitable work continued with the release of "We Are the World" (1985), co-written with Lionel Richie, which raised money for the poor in the US and Africa. It earned $63 million, and became one of the best-selling singles of all time, with 20 million copies sold. It won four Grammys for 1985, including Song of the Year for Jackson and Richie as its writers. The project's creators received two special American Music Awards honors: one for the creation of the song and another for the USA for Africa idea. Jackson, Jones, and promoter Ken Kragan received special awards for their roles in the song's creation.Jackson collaborated with Paul McCartney in the early 1980s, and learned that McCartney was making $40 million a year from owning the rights to other artists' songs. By 1983, Jackson had begun buying publishing rights to others' songs, but he was careful with his acquisitions, only bidding on a few of the dozens that were offered to him. Jackson's early acquisitions of music catalogs and song copyrights such as the Sly Stone collection included "Everyday People" (1968), Len Barry's "1-2-3" (1965), and Dion DiMucci's "The Wanderer" (1961) and "Runaround Sue" (1961).
In 1984 Robert Holmes à Court announced he was selling the ATV Music Publishing catalog comprising the publishing rights to nearly 4000 songs, including most of the Beatles' material. In 1981, McCartney had been offered the catalog for £20 million ($40 million). Jackson submitted a bid of $46 million on November 20, 1984. When Jackson and McCartney were unable to make a joint purchase, McCartney did not want to be the sole owner of the Beatles' songs, and did not pursue an offer on his own. Jackson's agents were unable to come to a deal, and in May 1985 left talks after having spent more than $1 million and four months of due diligence work on the negotiations. In June 1985, Jackson and Branca learned that Charles Koppelman's and Marty Bandier's The Entertainment Company had made a tentative offer to buy ATV Music for $50 million; in early August, Holmes à Court contacted Jackson and talks resumed. Jackson's increased bid of $47.5 million was accepted because he could close the deal more quickly, having already completed due diligence. Jackson also agreed to visit Holmes à Court in Australia, where he would appear on the Channel Seven Perth Telethon. Jackson's purchase of ATV Music was finalized on August 10, 1985.
Output: What is the name of the person whose last tour with his brothers was the Victory Tour?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What are the first names of the people who share a prison cell?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What is the last name of the person whose lover is Marta?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What are the first names of the people who develop an unlikely friendship?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What are the full names of the people who form an unlikely friendship?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What are the last names of the people who form an unlikely friendship?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What is the last name of the person who is being poisoned by his jailers?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What is the last name of the person Luis is in love with?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What is the last name of the person who provided Luis with a phone number?
Passage: The film tells of two very different individuals who share a prison cell in Brazil during the Brazilian military government: Valentin Arregui, who is imprisoned (and has been tortured) due to his activities on behalf of a leftist revolutionary group, and Luis Molina, a transgender woman in prison for having sex with an underage boy.
Molina, who self-identifies as "she," passes the time by recounting memories from one of her favorite films, a wartime romantic thriller that's also a Nazi propaganda film. She weaves the characters into a narrative meant to comfort Valentin and distract him from the harsh realities of political imprisonment and separation from his lover, Marta. Valentin encourages Molina to have self-respect and opens her up to political commitment. Despite Valentin's occasionally snapping at Molina over her shallow views of film watching and unrealistic romance, an unlikely friendship develops between the two.
As the story develops, it becomes clear that Valentin is being poisoned by his jailers to provide Molina with a chance to befriend him, and that Molina is spying on Valentin on behalf of the secret police. Molina has apparently been promised parole if she succeeds in obtaining information that will allow the secret police to break up the revolutionary group.
When Molina declares herself in love with Valentin, a physical consummation of that love occurs on Molina's last night in prison. Molina is granted parole in a surprise move by the secret police. Valentin provides Molina with a telephone number and a message for his comrades. Molina at first refuses to take the number, fearing the consequences of treason, but she relents, bidding Valentin farewell with a kiss.
Output: What is the last name of the person Luis kisses?
Passage: Bizet's first opera, the one-act Le docteur Miracle, was written in 1856 when the 18-year-old composer was a student at the Conservatoire de Paris. It was Bizet's winning entry in a competition organised by the celebrated composer Jacques Offenbach, and gained him a cash award, a gold medal, and a performance of the prize work at the Théâtre des Bouffes-Parisiens. In 1857 Bizet was awarded the prestigious Prix de Rome, and as a result spent most of the following three years in Italy, where he wrote Don Procopio, a short opera buffa in the style of Donizetti. By this time Bizet had written several non-stage works, including his Symphony in C, but the poor reception accorded to his 1858 Te Deum, a religious work he composed in Rome, helped convince him that his future lay primarily with the musical theatre. He planned and possibly began several operatic works before his return to Paris in 1860, but none of these projects came to fruition.In Paris, Bizet discovered the difficulties faced by young and relatively unknown composers trying to get their operas performed. Of the capital's two state-subsidised opera houses, the Opéra and the Opéra-Comique, the former offered a static repertoire in which works by foreign composers, particularly Rossini and Meyerbeer, were dominant. Even established French composers such as Gounod had difficulty getting works performed there. At the Opéra-Comique, innovation was equally rare; although more French works were performed, the style and character of most productions had hardly changed since the 1830s. However, one condition of the Opéra-Comique's state funding was that from time to time it should produce one-act works by former Prix de Rome laureates. Under this provision, Bizet wrote La guzla de l'Emir, with a libretto by Jules Barbier and Michel Carré, and this went into rehearsal early in 1862.In April 1862, as the La guzla rehearsals proceeded, Bizet was approached by Léon Carvalho, manager of the independent Théâtre Lyrique company. Carvalho had been offered an annual grant of 100,000 francs by the retiring Minister of Fine Arts, Count Walewski, on condition that each year he stage a new three-act opera from a recent Prix de Rome winner. Carvalho had a high opinion of Bizet's abilities, and offered him the libretto of Les pêcheurs de perles, an exotic story by Carré and Eugène Cormon set on the island of Ceylon (now Sri Lanka). Sensing the opportunity for a genuine theatrical success, Bizet accepted the commission. Because Walewski restricted his grant to composers who had not had any previous work performed commercially, Bizet hurriedly withdrew La guzla from the Opéra-Comique; it has never been performed, and the music has disappeared.
Output: What is the the name of the person who gained a cash award, a gold medal, and a performance of their prize work at the Théâtre des Bouffes-Parisiens?
Passage: Bizet's first opera, the one-act Le docteur Miracle, was written in 1856 when the 18-year-old composer was a student at the Conservatoire de Paris. It was Bizet's winning entry in a competition organised by the celebrated composer Jacques Offenbach, and gained him a cash award, a gold medal, and a performance of the prize work at the Théâtre des Bouffes-Parisiens. In 1857 Bizet was awarded the prestigious Prix de Rome, and as a result spent most of the following three years in Italy, where he wrote Don Procopio, a short opera buffa in the style of Donizetti. By this time Bizet had written several non-stage works, including his Symphony in C, but the poor reception accorded to his 1858 Te Deum, a religious work he composed in Rome, helped convince him that his future lay primarily with the musical theatre. He planned and possibly began several operatic works before his return to Paris in 1860, but none of these projects came to fruition.In Paris, Bizet discovered the difficulties faced by young and relatively unknown composers trying to get their operas performed. Of the capital's two state-subsidised opera houses, the Opéra and the Opéra-Comique, the former offered a static repertoire in which works by foreign composers, particularly Rossini and Meyerbeer, were dominant. Even established French composers such as Gounod had difficulty getting works performed there. At the Opéra-Comique, innovation was equally rare; although more French works were performed, the style and character of most productions had hardly changed since the 1830s. However, one condition of the Opéra-Comique's state funding was that from time to time it should produce one-act works by former Prix de Rome laureates. Under this provision, Bizet wrote La guzla de l'Emir, with a libretto by Jules Barbier and Michel Carré, and this went into rehearsal early in 1862.In April 1862, as the La guzla rehearsals proceeded, Bizet was approached by Léon Carvalho, manager of the independent Théâtre Lyrique company. Carvalho had been offered an annual grant of 100,000 francs by the retiring Minister of Fine Arts, Count Walewski, on condition that each year he stage a new three-act opera from a recent Prix de Rome winner. Carvalho had a high opinion of Bizet's abilities, and offered him the libretto of Les pêcheurs de perles, an exotic story by Carré and Eugène Cormon set on the island of Ceylon (now Sri Lanka). Sensing the opportunity for a genuine theatrical success, Bizet accepted the commission. Because Walewski restricted his grant to composers who had not had any previous work performed commercially, Bizet hurriedly withdrew La guzla from the Opéra-Comique; it has never been performed, and the music has disappeared.
Output: What is the name of the person who wrote Don Procopio while in Italy?