Question: Given the following context: In 1983, theater and opera director Peter Sellars proposed to American composer John Adams that he write an opera about Nixon's 1972 visit to China. Sellars was intrigued by Nixon's decision to make the visit, seeing it as both "a ridiculously cynical election ploy ... and a historical breakthrough". Adams, who had not previously attempted an opera, was initially skeptical, assuming that Sellars was proposing a satire. Sellars persisted, however, and Adams, who had interested himself in the origin of myths, came to believe the opera could show how mythic origins may be found in contemporary history. Both men agreed that the opera would be heroic in nature, rather than poking fun at Nixon or Mao. Sellars invited Alice Goodman to join the project as librettist, and the three met at the Kennedy Center in Washington D.C. in 1985 to begin intensive study of the six characters, three American and three Chinese, upon whom the opera would focus. The trio endeavored to go beyond the stereotypes about figures such as Nixon and Chinese Chairman Mao Tse-tung and to examine their personalities.As Adams worked on the opera, he came to see Nixon, whom he had once intensely disliked, as an "interesting character", a complicated individual who sometimes showed emotion in public. Adams wanted Mao to be "the Mao of the huge posters and Great Leap Forward; I cast him as a heldentenor". Mao's wife, on the other hand, was to be "not just a shrieking coloratura, but also someone who in the opera's final act can reveal her private fantasies, her erotic desires, and even a certain tragic awareness. Nixon himself is a sort of Simon Boccanegra, a self-doubting, lyrical, at times self-pitying melancholy baritone."Goodman explained her characterizations: A writer tends to find her characters in her self, so I can tell you ... that Nixon, Pat, Mme. Mao, Kissinger and the chorus were all 'me.' And the inner lives of Mao and Chou En-Lai, who I couldn't find in myself at all, were drawn from a couple of close acquaintances. answer the following question: What are the full names of the two men would agreed that the opera would be heroic in nature?
Answer: John Adams

[Q]: Given the following context: Medina gets up after hearing a voice in her dreams. She prepares to go out, has a coffee, and does a quick breath relaxation exercise. Her friend, Sidonia, arrives and finds Medina, who is looking at herself in the mirror with a sad expression. Sidonia tries to lighten the moment, and reminds Medina that her friends and family are waiting for her. Medina gets herself together and they head off to the funeral service for Medina's fiance. Medina is with her friend Tesla, who tells her she is love with Medina's brother, Enzo, and is thinking of getting engaged. Medina is a bit surprised, but congratulates her. They try to visit an art exhibit, but the female security guard kicks them out, as she remembers the duo's wild reputation. Medine is upset, but Tesla invites her and Enzo for drinks. Tesla and Enzo cheer Medina up with their light conversation. Quinn looks depressed as he meets up with his friend Fera at the street. He tells her that Nilda left him and took everything, including his possessions. He shows her the "Dear John letter" composed on bath tissue. Fera's husband, Camden, arrives and they explain the situation. Fera and Camden console Quinn but he leaves to clear his mind. They follow Quinn to make sure he does not do something regretful. Tesla reminds Medina of an upcoming martial arts promotion test. Medina prepares by doing some stretching, practicing footwork, and twirling weapons including swords, staffs and spears. Meanwhile, Fera is increasingly concerned about Quinn. Camden notes that Fera and Quinn act like siblings, but for now, all they can do is continue to look after Quinn. They head to a show at the Lincoln Center. answer the following question: What is the first name of the person who wrote the dear John letter?
****
[A]: Nilda

input: Please answer the following: Given the following context: In 1867, Rubinstein handed over the directorship of the Conservatory to Zaremba. Later that year he resigned his conductorship of the Russian Music Society orchestra, to be replaced by Balakirev. Tchaikovsky had already promised his Characteristic Dances (then called Dances of the Hay Maidens) from his opera The Voyevoda to the society. In submitting the manuscript (and perhaps mindful of Cui's review of the cantata), Tchaikovsky included a note to Balakirev that ended with a request for a word of encouragement should the Dances not be performed.At this point The Five as a unit was dispersing. Mussorgsky and Rimsky-Korsakov wanted to remove themselves from Balakirev's influence, which they now found stifling, and go in their individual directions as composers. Balakirev might have sensed a potential new disciple in Tchaikovsky. He explained in his reply from Saint Petersburg that while he preferred to give his opinions in person and at length to press his points home, he was couching his reply "with complete frankness", adding, with a deft touch of flattery, that he felt that Tchaikovsky was "a fully fledged artist" and that he looked forward to discussing the piece with him on an upcoming trip to Moscow.These letters set the tone for Tchaikovsky's relationship with Balakirev over the next two years. At the end of this period, in 1869, Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. Fatum received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in Fatum but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards meand I feel a great weakness for you".... answer the following question: What is the full name of the person who resigned his conductorship of the Russian Music Society orchestra?
++++++++++
output:
Nikolai Rubinstein