Problem: Read the following paragraph and extract the answer for the question: What is the last name of the person who died in 1858? While on a hunting trip on Loyalsock Creek north of the park in 1850, brothers Elijah and Clemuel Ricketts were frustrated at having to spend the night on a hotel's parlor floor. In 1851 or 1853 they bought 5,000 acres (2,000 ha), including what is now Lake Ganoga and some of the park, as their own hunting preserve, and built a stone house on the lake shore by 1852 or 1855. The stone house served as their lodge and as a tavern; it was known as "Ricketts Folly" for its isolated location in the wilderness. Clemuel died in 1858 and Elijah bought his share of the land and house. The Ricketts family was not aware of the glens and their waterfalls until about 1865, when they were discovered by two guests from the stone house who went fishing and wandered down Kitchen Creek.Elijah's son Robert Bruce Ricketts, for whom the park is named, joined the Union Army as a private at the outbreak of the American Civil War and rose through the ranks to become a colonel in the artillery. After the war, R. Bruce Ricketts returned to Pennsylvania and in 1869 began purchasing the land around the lake from his father. By 1873 he controlled or owned 66,000 acres (27,000 ha), and eventually this grew to more than 80,000 acres (32,000 ha), including the glens and waterfalls and most of the park.While the stone house had served as a home and inn since its construction, in 1872 R. Bruce Ricketts built a three-story wooden addition north of the house. The addition used lumber from a sawmill Ricketts and his partners operated from 1872 to 1875, about 0.5 miles (0.8 km) southeast of the stone house. The North Mountain House hotel opened in 1873; Ricketts' brother Frank, for whom a park waterfall is named, managed it from then until 1898. Many of the hotel's guests were Ricketts' friends and relations, who arrived after school let out in June and stayed all summer until school resumed in September. In 1876 and 1877, Ricketts ran the first summer school in the United States at his house and hotel; one of the teachers was Joseph Rothrock,...

A: Ricketts
Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the last name of the composer whose lack of lighthearted works Harding found regrettable? Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fredegonde, Saint-Saens wrote twelve operas, two of which are operas comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saens "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saens obviously had no time for Massenet's histrionics". Saint-Saens's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saens's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saens have, in general, the strengths and weaknesses of the rest of his music "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saens drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saens was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...
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The answer is:
Saint-Saens
[Q]: Read the following paragraph and extract the answer for the question: What is the last name of the person whose third Benhardt play was La Tosca? The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment. When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand...
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[A]:
Sardou