Detailed Instructions: In this task, you are given a set of context paragraphs, some supporting facts and an answer of a question. Your task is to generate question for given answer based on set of context paragraphs, supporting facts and an answer.
See one example below:
Problem: Context_1 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an "American original". He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Context_2 : Daniel Evan Freeman (born 27 April 1959) is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands. He is also active as a pianist and music editor. Context_3 : Art music (also known as Western classical music, cultivated music, serious music, canonic music, and more flippantly, real music or normal music) is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. "Serious" or "cultivated" music are terms frequently used as a contrast for ordinary, everyday music (popular and folk music, also called "vernacular music"). After the 20th century, art music was divided into two extensions: "serious music" and "light music". Context_4 : In the history of European art music, the term "common practice period" refers to the era between the formation and the dissolution of the tonal system. Though there are no exact dates for this phenomenon, most features of the common-practice period persisted from the mid to late baroque period, through the Classical and Romantic periods, or roughly from around 1650 to 1900. While certain prevailing patterns and conventions characterize the music of this period, the time period also saw considerable stylistic evolution. Some conventions evolved during this period that were rarely employed at other times during what may still be labeled "common practice" (for example, Sonata Form). Thus, the dates 16501900 are necessarily nebulous and arbitrary borders that depend on context. The most important unifying feature through this time period concerns a harmonic language to which modern music theorists can apply Roman numeral analysis. Context_5 : The Festival Oude Muziek Utrecht ("Utrecht Early Music Festival") is an annual music festival that showcases and celebrates early European art music. The ten-day festival takes place in the Dutch city of Utrecht, and begins in August. The programme comprises concerts, activities, lectures, exhibitions, and a symposium. Context_6 : Assaf Shelleg (Hebrew: ), is a musicologist and pianist, a senior lecturer of musicology at The Hebrew University of Jerusalem. He was previously the Schusterman Visiting Assistant Professor of Musicology and Jewish Studies in the Department of Religious Studies at the University of Virginia (201114), and had taught prior to that as the visiting Efroymson Scholar in the Jewish, Islamic & Near Eastern Languages and Cultures Department at Washington University in St. Louis (200911). Shelleg specializes in twentieth-century Jewish and Israeli art music and has published in some of the leading journals in both musicology and Israel Studies on topics ranging from the historiography of modern Jewish art music to the theological networks of Israeli art music. Shelleg's book, "Jewish Contiguities and the Soundtrack of Israeli History", appeared in November 2014 with Oxford University Press. The book studies the emergence of modern Jewish art music in central and Western Europe (1910s-1930s) and its translocation to Palestine/Israel (1930s-1970s), exposing the legacies of European antisemitism and religious Judaism in the making of Israeli art music. Moving to consider the dislocation of modern Jewish art music the book examines the paradoxes embedded in a Zionist national culture whose rhetoric negated its pasts, only to mask process of hybridizations enchained by older legacies. "Jewish Contiguities" has won the 2015 Engle Prize for the study of Hebrew Music, and the 2016 Jordan Schnitzer Book Award. Context_7 : Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads. In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song. In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes). Context_8 : David Wallis Reeves (February 14, 1838 March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876. Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March". Charles Ives also borrowed from the "Second Connecticut" on four occasions. Context_9 : "Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see List of classical and art music traditions." Context_10 : Progressive music is music that subverts genre and expands stylistic boundaries outwards. Rooted in the idea of a cultural alternative, musical progressiveness embodies a continuous move between explicit and implicit references to genres and strategies derived from various cultural domains, such as European art music, Celtic folk, West Indian, or African. The word "progressive" comes from the basic concept of "progress", which refers to development and growth by accumulation, and is often deployed in numerous music genres such as progressive country, progressive folk, progressive jazz, and (most significantly) progressive rock. fact_1 : Charles Ives also borrowed from the "Second Connecticut" on four occasions. fact_2 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. fact_3 : He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Answer: 1874May
Solution: What is the birthyear of the American composer that borrowed from "Second Connecticut" on four occasions and combined American popular and church-music traditions with European art music?
Explanation: From the fact_1 from context _8, and fact _2 and fact _3 from context _1, we can arrive at 1874 May which is accurate answer of generated question.

Problem: Context_1 : Miklos Bencze (19 June 1911 24 January 1992) was a Hungarian-American bass singer. He was born in Hungary and studied with tenor Manfredo Polverosi; he had his debut as Ferrando in "Il Trovatore" at the Hungarian State Opera in 1946. He also performed with the Budapest Municipal Opera Theatre and with opera companies in Vienna and Innsbruck. He married Budapest native Ilona Anna Szabari. Context_2 : Sir Georg Solti, KBE ( ; Budapest, 21 October 1912Antibes, 5 September 1997) was a Hungarian-born orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra. Born in Budapest, he studied there with Bela Bartok, Leo Weiner and Erno Dohnanyi. In the 1930s, he was a repetiteur at the Hungarian State Opera and worked at the Salzburg Festival for Arturo Toscanini. His career was interrupted by the rise of the Nazis' influence on Hungarian politics, and being of Jewish background he fled the increasingly harsh Hungarian anti-Jewish laws in 1938. After conducting a season of Russian ballet in London at the Royal Opera House he found refuge in Switzerland, where he remained during the Second World War. Prohibited from conducting there, he earned a living as a pianist. Context_3 : Youri Vamos was born in Budapest. He trained in ballet from a young age at the State Ballet School in Budapest. He was a soloist at the Hungarian State Opera and then later accepted a contract as a first soloist at the Bavarian State Opera. Context_4 : The Hungarian National Ballet (Hungarian: "Magyar Nemzeti Balett" ) is a classical ballet dance company based in Budapest, Hungary. The ballet company is attached to the Hungarian State Opera House, which is also home to the Hungarian National Opera company and the Hungarian National Philharmonic orchestra. The ballet company was established in 1884. Context_5 : Elizabeth Rab, also known as Rab Elly (born 3 September 1930 in Budapest) is a Hungarian-born internationally acclaimed former Opera Soprano (singer) and Australian music teacher (singing and piano). She was a member of the Hungarian State Opera (Budapest) from 1948 to 1960 and during that time, she held the number two position as Opera Soprano. Context_6 : Jozsef Simandy (Kistarcsa, 18 September 1916 Budapest, 4 March 1997) was a Hungarian tenor with German origins. His name in Hungarian form is "Simandy Jozsef", his original family name is "Schulder". A student of Emilia Posszert, he joined the chorus of the Hungarian State Opera in 1940; in 1946, he made his debut as Don Jose in "Carmen" in Szeged. In 1947, he returned to the Budapest Opera, where he was the leading heroic tenor until 1984. He performed regularly in Munich as well, from 1956 until 1960. Besides heroic tenor roles, Simandy took on lyric and spinto parts as well; he was best known for his Radames, Lohengrin, and Otello. Recordings include two operas by Ferenc Erkel, "Bank ban" and "Hunyadi Laszlo", in both of which he sang the title role. Context_7 : The Budapest Philharmonic Orchestra (Hungarian: "Budapesti Filharmoniai Tarsasag Zenekara") is Hungary's oldest extant orchestra. It was founded in 1853 by Ferenc Erkel under the auspices of the Budapest Philharmonic Society. For many years it was Hungary's only professional orchestra. The ensemble is an independent body, now organised by musicians of the Opera House, directed by the chairman-conductor and the board of directors. Its main concert venue is the Hungarian State Opera House, where they give around ten concerts per year. Context_8 : A soprano ] is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C) = 261 Hz to "high A" (A) =880 Hz in choral music, or to "soprano C" (C, two octaves above middle C) =1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. Context_9 : The Hungarian State Opera House (Hungarian: "Magyar Allami Operahaz" ) is a neo-Renaissance opera house located in central Budapest, on Andrassy ut. Originally known as the Hungarian Royal Opera House, it was designed by Miklos Ybl, a major figure of 19th-century Hungarian architecture. Construction began in 1875, funded by the city of Budapest and by Emperor Franz Joseph I of Austria-Hungary, and the new house opened to the public on the 27 September 1884. It is the second largest opera house in Hungary. Context_10 : Franca Mattiucci (Rome, 1938) is an Italian operatic mezzo-soprano who had an active international career from 1963-1987. In her native country she made appearances at the Arena di Verona Festival, the Baths of Caracalla, La Fenice, La Scala, the Teatro Comunale di Bologna, the Teatro della Pergola, the Teatro dell'Opera di Roma, the Teatro di San Carlo, the Teatro Donizetti, the Teatro Margherita, the Teatro Massimo Bellini, the Teatro Massimo, the Teatro Regio di Parma, and the Teatro Regio di Torino. On the international stage she performed at the Hamburg State Opera, the Hungarian State Opera, the Liceu, the Lyric Opera of Chicago, the Opera de Monte-Carlo, the Sofia National Opera, the Teatro Colon, the Teatro Nacional de Sao Carlos, the Teatro Real, and the Vienna State Opera among others. fact_1 : Elizabeth Rab, also known as Rab Elly (born 3 September 1930 in Budapest) is a Hungarian-born internationally acclaimed former Opera Soprano (singer) and Australian music teacher (singing and piano). fact_2 : She was a member of the Hungarian State Opera (Budapest) from 1948 to 1960 and during that time, she held the number two position as Opera Soprano. fact_3 : A soprano ] is a type of classical female singing voice and has the highest vocal range of all voice types. Answer: Elizabeth Rab
Solution:
What Hungarianborn Opera star sung the number two position in the highest voice range for the Hungarian State Opera Budapest?