Question: Given the following context: Apart from a single early work for unaccompanied choir ("Chanson a boire", 1922), Poulenc began writing choral music in 1936. In that year he produced three works for choir: Sept chansons (settings of verses by Eluard and others), Petites voix (for children's voices), and his religious work Litanies a la Vierge Noire, for female or children's voices and organ. The Mass in G major (1937) for unaccompanied choir is described by Gouverne as having something of a baroque style, with "vitality and joyful clamour on which his faith is writ large". Poulenc's new-found religious theme continued with Quatre motets pour un temps de penitence (193839), but among his most important choral works is the secular cantata Figure humaine (1943). Like the Mass, it is unaccompanied, and to succeed in performance it requires singers of the highest quality. Other a cappella works include the Quatre motets pour le temps de Noel (1952), which make severe demands on choirs' rhythmic precision and intonation.Poulenc's major works for choir and orchestra are the Stabat Mater (1950), the Gloria (195960), and Sept repons des tenebres (Seven responsories for Tenebrae, 196162). All these works are based on liturgical texts, originally set to Gregorian chant. In the Gloria, Poulenc's faith expresses itself in an exuberant, joyful way, with intervals of prayerful calm and mystic feeling, and an ending of serene tranquillity. Poulenc wrote to Bernac in 1962, "I have finished Les Tenebres. I think it is beautiful. With the Gloria and the Stabat Mater, I think I have three good religious works. May they spare me a few days in Purgatory, if I narrowly avoid going to hell." Sept repons des tenebres, which Poulenc did not live to hear performed, uses a large orchestra, but in Nichols's view it displays a new concentration of thought. To the critic Ralph Thibodeau, the work may be considered as Poulenc's own requiem and is "the most avant-garde of his sacred compositions, the most emotionally demanding, and the most interesting musically,... answer the following question: What are the exact titles of the three works for choir Poulenc produced in 1936?
Answer: Litanies a la Vierge

[Q]: Given the following context: The dress rehearsal, with Debussy, Ravel, other musicians and critics among those present, passed without incident. However, the following evening the premiere provoked something approaching a riot, with loud verbal abuse of the work, counter-shouts from supporters, and fisticuffs breaking out. Monteux pressed on, continuing to conduct the orchestra regardless of the turmoil behind him. Stravinsky wrote "The image of Monteux's back is more vivid in my mind today than the picture of the stage. He stood there apparently impervious and as nerveless as a crocodile. It is still incredible to me that he actually brought the orchestra through to the end." The extensive press coverage of the incident made Monteux "at age thirty-eight, truly a famous conductor". The company presented the Rite during its London season a few weeks later. The Times reported that although there was "something like a hostile reception" at the first London performance, the final performance in the season "was received with scarcely a sign of opposition". Before the 1913 London performances, Monteux challenged Diaghilev's authority by declaring that he, not the impresario, was the composer's representative in matters related to The Rite of Spring.Monteux believed that most of the anger aroused by the work was due not to the music but to Nijinsky's choreography, described by Stravinsky as "knock-kneed and long-haired Lolitas jumping up and down". With the composer's agreement Monteux presented a concert performance in Paris in April 1914. Saint-Saens, who was present, declared Stravinsky mad and left in a rage, but he was almost alone in his dislike. At the end Stravinsky was carried shoulder-high from the theatre after what he described as "the most beautiful performance that I have had of the Sacre du printemps". That performance was part of a series of "Concerts Monteux", presented between February and April 1914, in which Monteux conducted the orchestra of the Theatre des Champs-Elysees in a wide range of symphonic and concertante works,... answer the following question: What is the name of the person that composed Stravinsky's opera The Nightingale at the Palais Garnier
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[A]: Stravinsky's opera The Nightingale at the Palais Garnier

input: Please answer the following: Given the following context: The film centres around the character of Tom, a young army recruit in an unnamed time and country (presumably World War II-era Eastern Europe) who deserts after an artillery barrage kills his sergeant, in the process blinding a sadistic officer who tries to stop him. He is shell-shocked into muteness and takes refuge with a travelling gypsy caravan, led by Darky. Among the principal members of the clan are Darky's mentally disabled son, Simon, Simon's mother Elle who harbours a grudge against Darky, and Darky's only daughter, Jessie, who forms a romantic bond with Tom, eventually becoming pregnant by him. In order to avoid arrest and execution by the army, Tom disguises himself as a "rawney", described in the film as a kind of "magic" madwoman, who (in the gypsy culture) is able to see the future and can control animals. Frightened at first, Darky befriends the "rawney", thinking him or her to be good luck, but soon Darky is revealed to be a flawed leader, unable to protect his clan from war, and beset by family turmoil which is exacerbated by Tom's presence. Throughout the film, the army and the partially blinded officer is a menace, threatening the gypsies' way of life and those who befriend them. In a moving finale, the army corners the gypsy clan, who manage to hold them off with meagre rifles and pistols long enough to enable the young members of the clan, including Tom and Jessie, to escape, at the cost of their own lives. answer the following question: Who takes refuge with a gypsy caravan?
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output:
Tom