Background: Atsuko Maeda (Qian Tian Dun Zi , Maeda Atsuko, born July 10, 1991, in Ichikawa, Chiba) is a Japanese singer and actress known for her work in the Japanese idol group AKB48. Maeda was one of the most prominent members in the group, and placed first among all AKB48 and sister group candidates in the group's general 2009 and 2011 elections, and second in the 2010 election. She also appeared on many of its album covers. On March 25, 2012, she announced her graduation from AKB48; it was held on August 27.
Context: On April 23, 2011, Maeda announced that she would make her solo debut with her debut single "Flower", released on June 22. It was met with commercial success in Japan, debuting at number 1 on the Oricon Charts with first week sales of 176,967 copies. The follow-up single "Kimi wa Boku Da", released in June 2012, was Maeda's last solo single while still a member of AKB48. It debuted at number two on the Oricon charts and reached number one on the Billboard Japan Hot 100. On June 15, 2013, at AKB48's handshake event held at Makuhari Messe, AKB48 announced that Maeda would appear as a special guest at the group's summer concert series at the Sapporo Dome on July 31. There], she performed her third single, "Time Machine Nante Iranai" (taimumashinnanteiranai, I don't need a time machine), which was later released on September 18. It was selected to be the theme song for the live-action adaptation of Yamada-kun to 7-nin no Majo (Yamada and the Seven Witches). Maeda described the song as "cheerful and fun" and hoped it would liven up the show. "Time Machine Nante Iranai" eventually peaked at number one on the Oricon Daily charts, and number two on the Oricon Weekly chart. On Billboard's Japan Hot 100, it debuted at number one and stayed there for just the week of September 30. Maeda's 4th single "Seventh Code" was released on March 5, 2014. It was used as the theme song of the movie "Seventh Code" in which Maeda herself starred in. It debuted at number 4 on the Oricon charts and reached number three on the Billboard Japan Hot 100. On December 12, 2015, it was announced that Maeda's first album will be released later the next year. Eventually, the album is set to be released on June 22, 2016.
Question: Did she quit singing while she was still young?
Answer:

Problem: Background: Alfred Cellier (1 December 1844 - 28 December 1891) was an English composer, orchestrator and conductor. In addition to conducting and music directing the original productions of several of the most famous Gilbert and Sullivan works and writing the overtures to some of them, Cellier conducted at many theatres in London, New York and on tour in Britain, America and Australia. He composed over a dozen operas and other works for the theatre, as well as for orchestra, but his 1886 comic opera, Dorothy, was by far his most successful work. It became the longest-running piece of musical theatre in the nineteenth century.
Context: In 1885, Cellier composed a song, "There once was a time, my darling", for a piece produced by George Edwardes, Little Jack Sheppard (1885). Meanwhile he had composed what would become his greatest success, the comic opera Dorothy, with a libretto by B. C. Stephenson. To create the score, Cellier repurposed some of his music from his 1876 failure, Nell Gwynne, which had, nevertheless, received praise for its music. Dorothy had been announced for production at the Royalty Theatre in 1884, but ultimately Edwardes mounted it at his Gaiety Theatre on 25 September 1886. Cellier was in Australia from February 1886 to February 1887, conducting The Mikado and other Gilbert and Sullivan operas for the J. C. Williamson organization and was absent from London during the productions of The Carp, at the Savoy, and Dorothy. Neither the music nor the libretto of Dorothy initially attracted critical praise. The Times wrote, "Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality." Stephenson rewrote the lyrics of one of Cellier's old songs, "Old Dreams" as "Queen of My Heart"; this helped the work to find success after it transferred in December to the Prince of Wales Theatre. The following year H. J. Leslie took over the production from Edwardes and introduced new stars, including Marie Tempest. Dorothy became an even greater success at the box office and transferred in December 1888 to the Lyric Theatre, built using the profits from the production, where it ran into 1889. Its initial run of a total of 931 performances was the longest of any piece of musical theatre up to that time, longer than even The Mikado, a fact that caused consternation to Cellier's friend Arthur Sullivan. Some critics reconsidered their earlier condemnation, the work became regarded as a classic Victorian piece, and the initially despised plot was traced seriously back to the Restoration playwrights David Garrick and Aphra Behn, and to Oliver Goldsmith and even Shakespeare. Its success led to revivals of some of Cellier's earlier works. Cellier returned to Australia in 1888 to conduct Dorothy and made a final brief visit there for health reasons in early 1891, together with Stephenson. His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies. Often in ill health throughout his life, Cellier was unable to finish The Mountebanks, and Ivan Caryll completed the score. Cellier owed much to the influence of Sullivan. He was a fertile melodist, and his writing exhibited elegance and refinement, although he was not able to infuse his music with humour in the way that Sullivan did. Cellier died at his home in Bloomsbury, London, at the age of 47. He was buried in West Norwood Cemetery.
Question: Where there any other later pieces after that?
Answer:
His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful.