[Q]: A friend asked me to answer this question: What is the last name of the person who the man that was a painstaking craftsman had high hopes for?, using the article: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity." Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by Rene Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up "la legende de facilite" that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Roge commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take..., what would be the answer ?
****
[A]: Messiaen
input: Please answer the following: A friend asked me to answer this question: What is the name of the person who wrote that if he finds three one-act works that suit him, he will put off M.A.?, using the article: The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A." Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's..., what would be the answer ?
++++++++++
output: Puccini
Problem: A friend asked me to answer this question: How does Constance Harding get the attention of Ted Drake?, using the article: Constance Harding is an unhappy orphan who will soon graduate from Miss Wiggins' school for girls. Her only real relatives are members from the James Clinton family, but they show little interest in the teenager. She is brought to New York by one of their butlers, where she moves in with a bunch of snobs. The upperclass people are not impressed with her, but Connie is able to befriend the servants. One afternoon, her cousin Barbara Clinton orders Connie to stop Ted Drake from going riding without her. Connie tries the best she can, which results in embarrassing herself. She has secretly fallen in love with him and is filled with joy when she learns the Drake family is organizing a ball. The servants raise money to buy her a fashionable dress. However, Barbara spreads a lie and Connie is eventually prohibited from attending the ball. Connie is heartbroken, until the servants arrange a limousine she can use until midnight. Meanwhile, the police detain the Clinton family car until almost midnight when they can be brought before a judge, since the chauffeur is missing the vehicle's proof of ownership. At the ball, everyone is impressed with her singing talents. Ted notices her and tries to charm her. They eventually kiss, when Connie realizes it is midnight. She runs off, but accidentally leaves one of her slippers behind. Ted finds the slipper and tries to locate the owner. Arriving at the ball just before midnight, Barbara spots Connie leaving the ball. Infuriated, she tries to break Connie's confidence and fires all the servants. The next day, Connie is missing as well, and her uncle James berates Grace, Barbara, and Walter for their hostile/indifferent attitude to Connie. Meanwhile, Connie returns to Miss Wiggins' school in the hope of becoming a music teacher. Ted follows her and they reunite in the end., what would be the answer ?

A:
her singing talents