user: I have a test where I am given the following article, what is an answer for the question: What role did the person in the band who was inspired by Los Angeles have? ?  "City of Angels" was written by lead vocalist Jared Leto, who also produced the song with Steve Lillywhite. The latter had previously worked with Thirty Seconds to Mars on the production of the band's third studio album, This Is War (2009). The song was engineered by Jamie Reed Schefman and mixed by Serban Ghenea. John Hanes engineered it for mixing at Mixstar Studios in Virginia Beach, Virginia. It was recorded at The International Centre for the Advancement of the Arts and Sciences of Sound in Los Angeles, California and mastered by Howie Weinberg and Dan Gerbarg at Howie Weinberg Mastering. Thirty Seconds to Mars unveiled six songs from their fourth studio album Love, Lust, Faith and Dreams, including "City of Angels", during a preview held at the Electric Lady Studios in New York City on March 14, 2013. Shannon Leto revealed that it was the oldest song written for the album and took a long time to make.While writing the song, Leto was influenced by the culture of Los Angeles and inspired by his relationship with it. He explained that pursuing his creative ambitions in Los Angeles had led to a "love/hate relationship" with the city. Leto told Interview magazine, "the song is about people coming to the City of Angels to live their dreams and to make their dreams their reality. It's about how the other people they've met in the city have helped them—you know, a group of people all kind of joining together into a community of outsiders, of mavericks, of freaks, of artists. It's about coming to a place to do something different and something special."
Ans: lead vocalist

I have a test where I am given the following article, what is an answer for the question: What is the last name of the person who was accepted at the age of 10 into the Royal Academy of Music? ?  Bennett was born in Sheffield, Yorkshire, the third child and only son of Robert Bennett, the organist of Sheffield parish church, and his wife Elizabeth, née Donn. In addition to his duties as an organist, Robert Bennett was a conductor, composer and piano teacher; he named his son after his friend William Sterndale, some of whose poems the elder Bennett had set to music. His mother died in 1818, aged 27, and his father, after remarrying, died in 1819. Thus orphaned at the age of three, Bennett was brought up in Cambridge by his paternal grandfather, John Bennett, from whom he received his first musical education. John Bennett was a professional bass, who sang as a lay clerk in the choirs of King's, St John's and Trinity colleges. The young Bennett entered the choir of King's College Chapel in February 1824 where he remained for two years. In 1826, at the age of ten, he was accepted into the Royal Academy of Music (RAM), which had been founded in 1822. The examiners were so impressed by the child's talent that they waived all fees for his tuition and board.Bennett was a pupil at the RAM for the next ten years. At his grandfather's wish his principal instrumental studies were at first as a violinist, under Paolo Spagnoletti and later Antonio James Oury. He also studied the piano under W. H. Holmes, and after five years, with his grandfather's agreement, he took the piano as his principal study. He was a shy youth and was diffident about his skill in composition, which he studied under the principal of the RAM, William Crotch, and then under Cipriani Potter, who took over as principal in 1832. Amongst the friends Bennett made at the Academy was the future music critic J. W. Davison. Bennett did not study singing, but when the RAM mounted a student production of The Marriage of Figaro in 1830, Bennett, aged fourteen, was cast in the mezzo-soprano role of the page boy Cherubino (usually played by a woman en travesti). This was among the few failures of his career at the RAM. The Observer wryly commented, "of the...
Ans: Bennett

I have a test where I am given the following article, what is an answer for the question: What is the first name of the person who rates Saint-Saëns's operas as important in the history of French opera, and as "a bridge between Meyerbeer and the serious French operas of the early 1890s"? ?  Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Frédégonde, Saint-Saëns wrote twelve operas, two of which are opéras comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saëns "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saëns obviously had no time for Massenet's histrionics". Saint-Saëns's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saëns's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saëns have, in general, the strengths and weaknesses of the rest of his music – "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saëns drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saëns was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...


assistant: Ans: Ronald