Question: What is the population of the city where Haschka was born and died? Passage 1:Haschka was born and died in Vienna. In his youth, he was a member of the Society of Jesus. On the suppression of the Society (1773) he devoted himself, in secular life, to poetry, this was now to become his vocation and his means of livehood. His pupil, the wealthy Johann Baptist von Alxinger, an imitator of Christoph Martin Wieland, came to his assistance. Haschka also found aid in the home of poet Karoline Pichler. Having left the Jesuits, under the influence of Josephinism, he became a freemason and wrote odes against the papacy during the presence of Pius VI in Vienna, as well as against the religious orders. He returned to Catholicism after the death of Joseph II, Holy Roman Emperor, and was selected to compose a national anthem, which was first sung on 12 February 1797, at the celebration of Francis II's birthday. Haschka was given a position as assistant in the library of the University of Vienna and was made instructor in aesthetics in the newly founded Theresianum. He retired in 1824.
 Passage 2:She proceeded to sing a great gallery of roles at the City Opera, including Siébel in Faust, Angelina in La Cenerentola, Rosina in Il barbiere di Siviglia, Sesto in Giulio Cesare, Cherubino in Le nozze di Figaro (opposite Michael Devlin), Nicklausse in Les contes d'Hoffmann (with Sills and Norman Treigle), Dorabella in Così fan tutte (with Patricia Brooks), Octavian in Der Rosenkavalier (with Johanna Meier), Maddalena in Rigoletto (opposite José Carreras), Giovanna Seymour in Anna Bolena, the Composer in Ariadne auf Naxos (with Carol Neblett), Maffio Orsini in Lucrezia Borgia (with Sills), the title role of La belle Hélène, Zaida in Il turco in Italia, Estella Drummle in the world premiere of Miss Havisham's Fire (with Rita Shane), Doña Manuela in La loca, Mariana in the world premiere of The Student from Salamanca, Sesto in La clemenza di Tito, Néris in the Italian version of Médée (with Marisa Galvany), the name part in Carmen (in Frank Corsaro's production), the title role of La Grande-Duchesse de Gérolstein, Prince Charmant in Cendrillon, Mallika in Lakmé, Bellino in Casanova's Homecoming, Adalgisa in Norma, Dulcinée in Don Quichotte, Charlotte in Werther (with Jon Garrison), Valencienne in Die lustige Witwe, Marcellina in Le nozze di Figaro (with Herbert Perry as Figaro), Suzuki in Madama Butterfly, La chatte in L'enfant et les sortilèges, Berta in Il barbiere di Siviglia, Rose in the world premiere of Marilyn, and Marta in Mefistofele, as well as musical comedy.
 Passage 3:The construction of Rockefeller Center occurred between 1932 and 1940 on land that John D. Rockefeller Jr. leased from Columbia University. The Rockefeller Center site was originally supposed to be occupied by a new opera house for the Metropolitan Opera. By 1928, Benjamin Wistar Morris and designer Joseph Urban were hired to come up with blueprints for the house. However, the new building was too expensive for the opera to fund by itself, and it needed an endowment, and the project ultimately gained the support of John D. Rockefeller Jr. The planned opera house was canceled in December 1929 due to various issues, with the new opera house eventually being built at Lincoln Center, opening in 1966.

Output: 1