input: Outside the USA, Ponselle sang only at Covent Garden in London (for three seasons) and in Italy (in order, so she said, to honor a promise she had made to her mother that she would one day sing in Italy). In 1929, Ponselle made her European debut in London, at the Royal Opera House at Covent Garden. Up until that time, her career had been concentrated entirely in America. Ponselle sang two roles at Covent Garden in 1929: Norma and Gioconda. She had great success and was tumultuously acclaimed by the normally staid London audiences. She returned to London in 1930 in Norma, L'amore dei tre re, and La traviata (her first performances as Violetta). In her final London season in 1931, she sang in La forza del destino, Fedra (an opera by her coach and long-time friend, Romano Romani), and a reprise of La traviata. In 1933 Ponselle sang her only performances in Italy, as Giulia in La vestale, with the Maggio Musicale in Florence. As in London, the audiences were wildly enthusiastic. At the second performance, Ponselle had to encore the aria, "O nume tutelar". Her success was such that she considered an engagement at Milan's La Scala, but after witnessing a Florence audience's brutal treatment of a famous tenor, Giacomo Lauri-Volpi, who cracked on a high note, she decided not to press her luck further with the notoriously difficult Italian opera-going public. Other than her appearances in London and Florence, Ponselle never sang outside the United States. Ponselle continued in the 1930s to add roles to her repertoire at the Metropolitan Opera. In 1930 she sang her first New York appearances in 1931 as Violetta, a role she had sung with such success in London, received a more mixed reception from the New York critics, some of whom found her interpretation too forceful and dramatic. (W.J. Henderson complained of her "assaults" on the vocal line.) In 1931 she sang in another unsuccessful world premiere, Montemezzi's La notte di Zoraima, which sank without a trace. Like many other opera singers of that time, she made a brief trip to Hollywood and made screen tests for Metro-Goldwyn-Mayer and Paramount Pictures, but nothing came of them. In 1935, Ponselle sang her first Carmen at the Met. In spite of a great popular success with the role, for which she had prepared meticulously, Ponselle received a drubbing from most of the New York critics, especially Olin Downes in the New York Times, whose savagely caustic review hurt Ponselle deeply. The only roles Ponselle sang during her last two seasons at the Met were Santuzza and Carmen, roles that did not tax her upper register. Differences with the Met management regarding repertoire led her not to renew her contract with the company for the 1937/38 season. Her last operatic performance was as Carmen on April 22, 1937, in a Met tour performance in Cleveland.

Answer this question "When did she finish her career?"
output: on April 22, 1937,

input: The Wildhearts formed in late 1989, after Ginger was sacked from the Quireboys. An often-told story from this time period is that Ginger decided to start his own band after falling down a flight of stairs with a bottle of Jack Daniel's but emerging with the bottle intact. Had the bottle smashed, he would have slit his wrists with the shards, but instead he resolved to form a band in which he could exercise his songwriting skills, rather than just playing guitar as in his previous bands. Throughout the band's career, Ginger has written almost all the songs himself. Initially called the Wild Hearts (two words), the band originally included singers Snake (ex-Tobruk) and Dunken F. Mullett (ex-Mournblade), who both joined for short periods. Nine demos were recorded in 1989 and 1990 with Snake singing on four and Dunken on five. These demos remain unreleased and displayed a sound resembling Guns N' Roses, with the Wildhearts sound still to be developed. Some of the demos were produced by Ric Browde and intended for an EP release that never materialized, though these demos are occasionally found on unofficial releases. In March 1991, Ginger reluctantly took over on lead vocals despite his reservations, as he has never thought himself a good singer. After many early personnel changes, the line-up solidified around Ginger on guitar and vocals, CJ (Christopher Jagdhar) on guitar and vocals, Danny McCormack on bass and vocals, and Dogs D'Amour drummer Bam. This line-up released two EPs in 1992, Mondo Akimbo a-Go-Go and Don't Be Happy...Just Worry.

Answer this question "Did they play a lot of concerts to begin with?"
output:

input: During the sabbatical, Mental As Anything still played short tours and one off gigs, but by 1993 they were back on record, providing the song "Ride", produced by Tim Farriss, for the soundtrack to the Yahoo Serious film Reckless Kelly. They released a compilation of rare album tracks and b-sides, Chemical Travel, in November. By mid-1994 the band had recorded an album's worth of self-produced material but were having difficulty getting a release deal. They self-released an EP of songs, Bicycle, and gave it away on their summer 1994/95 tour of NSW and Queensland. Radio station Triple J received a copy of the Bicycle EP on Christmas Day 1994 and put the lead track "Mr Natural" on immediate heavy rotation. Other stations followed and the demand led to the track being given a commercial release as a single and reaching the top 30 on the ARIA Charts (although charting higher in the States where the tour and free EP didn't reach). The resulting album, 1995's Liar, Liar Pants on Fire, reached the top 40, with Mombassa's cover taking the 'Best Cover Art' award at the 1996 ARIA Music Awards. Three further singles were lifted off Liar Liar in 1995 and 1996: Mombassa's "Nigel" which just failed to chart, a cover of Wreckless Eric's "Whole Wide World" which landed just out of the Top 50 (Top 30 in Victoria) and O'Doherty's tribute to Ms Faithful, "Marianne", which was released as the band supported Chris Issak on his 1996 tour of Australia. On 16 August 1997, Mental As Anything celebrated 20 years together with the same line-up with a free birthday show at the Hopetoun Hotel in Sydney. Late 1997 saw the band put together their third group art exhibition, Mentals III, which was opened by former Prime Minister, Gough Whitlam, at the Manly Art Gallery (Paul Keating had opened their second group exhibition in 1990). Their 21st anniversary in 1998 was marked with the release of the last album by this line-up, Garage, which did not reach the top 50, nor did the two singles lifted from it, "Just My Luck" and "Calling Colin". December 1999 saw the release of Best of Mental As Anything which was accredited by ARIA with a gold certificate by 2001, and a seasonal single "White Christmas", that was given away at their "Yule Party" gig at Sydney's Metro Theatre.

Answer this question "Did they have any other successful songs?"
output:
The resulting album, 1995's Liar, Liar Pants on Fire, reached the top 40, with Mombassa's cover taking the 'Best Cover Art' award at the 1996 ARIA Music Awards.