[Q]: Found the following article online, use it to answer the question: Whose nickname was Mi? In the autumn of 1927, Messiaen joined Dupre's organ course. Dupre later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupre explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Eglise de la Sainte-Trinite, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupre, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than sixty years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'eglise eternelle for organ. He married the violinist and composer Claire Delbos also in 1932. Their marriage inspired him to both compose works for her to play (Theme et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poemes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.In 1936, along with Andre Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase.
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[A]: Claire Delbos

[Q]: Found the following article online, use it to answer the question: What is the first name of the person that the woman in the nightmare marriage begs her husband to help free? Lee and Vivien Warren (Portman and Gynt) are trapped in a nightmare marriage. Vivien is despising, devious and habitually unfaithful while Lee is pathologically jealous. On his return from a lengthy business trip to New York, Lee finds several cards addressed to Vivien signed "Love Always" and determines to kill her latest lover, Richard Fenton. He confronts Fenton, who admits to his affair with Vivien, and persuades him to end the relationship by writing her a farewell letter. He then kills Fenton, and stages the scene to look like a suicide, believing he has committed the perfect crime as the letter which Fenton had just written at his dictation has all the appearance of a suicide note. His scheme goes awry when he discovers immediately after the fact that Vivien and Fenton had in fact broken up some time before, and Fenton had been humouring him by writing the note. He is guilt-stricken at having killed Fenton needlessly, and realises that any suggestion of suicide on Fenton's part in despair over Vivien will now seem absurd to the police. When he discovers that Vivien now has a new beau, Jimmy Martin, he takes the opportunity to frame Martin for the crime, reasoning that this will serve the dual purpose of shifting suspicion away from himself while at the same time getting Vivien's current lover out of the way. While he arranges matters so that all the evidence points to Martin, the policeman in charge of the case has his doubts about the case but is unable to catch Lee out. Vivien begs her husband to intercede on Martin's behalf, promising to remain faithful in the future if he can devise a way to save Martin from the gallows without incriminating himself. Lee comes up with what he thinks will be the perfect solution to save Martin and thus keep Vivien, but then discovers he may have underestimated her cunning.
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[A]: Jimmy

[Q]: Found the following article online, use it to answer the question: What is the full name of the man that was appointed as general director in 1998 for the company that's 'Powerhouse' era ended in 1992? Productions during the 1980s included the company's first presentations of Pelleas and Melisande (1981), Parsifal (1986) and Billy Budd (1988). 1980s productions that remained in the repertory for many years included Xerxes directed by Hytner, and Rigoletto and The Mikado directed by Jonathan Miller. In 1984 ENO toured the United States; the travelling company, led by Elder, consisted of 360 people; they performed Gloriana, War and Peace, The Turn of the Screw, Rigoletto and Patience. This was the first British company to be invited to appear at the Metropolitan Opera in New York, where Patience received a standing ovation and Miller's production of Rigoletto, depicting the characters as mafiosi, was greeted with a mixture of enthusiasm and booing. In 1990 ENO was the first major foreign opera company to tour the Soviet Union, performing the Miller production of The Turn of the Screw, Pountney's production of Macbeth, and Hytner's much-revived Xerxes.The 'Powerhouse' era ended in 1992, when all three of the triumvirate left at the same time. The new general director was Dennis Marks, formerly head of music programmes at the BBC, and the new music director was Sian Edwards. Pountney's post of director of productions was not filled. Marks, inheriting a large financial deficit from his predecessors, worked to restore the company's finances, concentrating on restoring ticket sales to sustainable levels. A new production by Miller of Der Rosenkavalier was a critical and financial success, as was a staging of Massenet's Don Quixote, described by the critic Hugh Canning as "the kind of old-fashioned theatre magic which the hair-shirted Powerhouse regime despised".Marks was obliged to spend much time and effort in securing the funding for an essential restoration of the Coliseum, a condition on which ENO had acquired the freehold of the theatre in 1992. At the same time the Arts Council was contemplating a cut in the number of opera performances in London, at the expense of ENO, rather than Covent Garden. By...
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[A]:
Nicholas Payne