Q: Given the following context: In 1982, at Elder's instigation, Harewood appointed David Pountney director of productions. In 1985 Harewood retired, becoming chairman of ENO's board the following year. Peter Jonas succeeded Harewood as managing director. The 1980s leadership team of Elder, Pountney and Jonas became known as the "Powerhouse", initiated a new era of "director's opera". The three of them favoured productions described, contrastingly, by Elder as "groundbreaking, risky, probing and theatrically effective", and by the director Nicholas Hytner as "Euro-bollocks that never has to be comprehensible to anybody but the people sitting out there conceiving." Directors who did not, in Harewood's phrase, "want to splash paint in the face of the public" were sidelined. A 1980s audience survey showed that the two things that ENO audiences most disliked were poor diction and the extremes of "director's opera". In the Grove Dictionary of Music and Musicians, Barry Millington has described the 'Powerhouse' style as "arresting images of dislocated reality, an inexhaustible repertory of stage contrivances, a determination to explore the social and psychological issues latent in the works, and above all an abundant sense of theatricality." As examples, Millington mentioned Rusalka (1983), with its Edwardian nursery setting and Freudian undertones, and Hansel and Gretel (1987), its dream pantomime peopled by fantasy figures from the children's imagination ... Lady Macbeth of the Mtsensk District (1987) and Wozzeck (1990) exemplified an approach to production in which grotesque caricature jostles with forceful emotional engagement. Poor average box-office sales led to a financial crisis, exacerbated by backstage industrial relations problems. After 1983, the company ceased touring to other British venues. Assessing the achievements of the 'Powerhouse' years, Tom Sutcliffe wrote in The Musical Times: ENO is not second best to Covent Garden. It is different, more theatrical, less vocal. ... The ENO now follows a policy like Covent Garden's in the... answer the following question: What are the first names of the two people who along with Elder became known as the "Powerhouse?"
A: David

Question: Given the following context: At the court in Ferrara, a collection of ladies skilled in music inspired the composer Luzzasco Luzzaschi and caught the Duke's interest. This group, which led to the formation of the concerto delle donne, performed within the context of the Duke's musica secreta, a regular series of chamber music concerts performed for an exclusive audience. This preliminary group was originally made up of talented but amateur members of the court: the sisters Lucrezia and Isabella Bendidio, Leonora Sanvitale, and Vittoria Bentivoglio. They were joined by bass Giulio Cesare Brancaccio, who was specifically brought to the court in 1577 for his singing ability. The preliminary ensemble was active throughout the 1570s, and its membership solidified in 1577. Only later did professionals replace these original singers. The Duke did not announce the creation of a professional, all-female ensemble; instead, the group infiltrated and gradually dominated the musica secreta, so that after the dismissal of Brancaccio for insubordination in 1583, no more male members of the musica secreta were hired. Even when Brancaccio was performing with the consort it was referred to as a ladies' ensemble, because women singing together was the most exciting aspect of the group. This new ensemble, the concerto delle donne, was created by Alfonso in part to amuse his young new wife, Margherita Gonzaga d'Este (she was only fourteen when they wed in 1579), and in part to help the Duke achieve his artistic goals for the court. According to Grana, a contemporary correspondent, "Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria have abandoned the field, having lost the backing of Luzzaschi". The first recorded performance by the professional ladies was on November 20, 1580; by carnival season in 1581, they were performing together regularly.This new "consort of ladies" was viewed as an extraordinary and novel phenomenon; most witnesses did not connect the second period of the concerto delle donne with the group of ladies who sang in... answer the following question: What was the full name of the person who Signora Machiavella [Lucrezia], Signora Isabella, and Signora Vittoria lost the backing of?
Answer: Luzzasco Luzzaschi

Question: Given the following context: One evening, after getting drunk at a bar, Mitch and Dave urinate in a park's fountain, and simultaneously wish that they had each other's lives. The next morning, Mitch and Dave realize they have switched bodies. Mitch remembers the wish they made the night before and they drive back to the park, planning to urinate again in the fountain and wish for their original lives back, but find the fountain has been removed for restorations. Forced to wait a few days until the parks department can locate the fountain, Mitch and Dave agree to pretend to be each other for the day. When Mitch arrives at Dave's law firm office, he befriends Dave's attractive assistant, Sabrina McKay. However, Mitch's lack of professionalism and legal knowledge cause a big merger to fall through. Meanwhile, Dave arrives at Mitch's film shoot to discover that it is a lorno (light porno). Tired of pretending to be Mitch, Dave has them go back to his house to tell his wife Jamie the truth, but Jamie does not believe him. Dave gives Mitch advice on how to behave professionally and Mitch sets Dave up on a date with Sabrina, who Mitch has had a crush on. After speaking with his father, Mitch rededicates himself to doing everything Dave's life demands, from taking care of the kids and buying groceries to making decisions at the firm. On the night of her ballet recital, Cara, Dave's eldest child, is about to be pushed by another girl who has a habit of bullying her, but takes Mitch's advice and throws her to the floor, to which Mitch foul-mouthedly cheers. Cara tells Mitch that she loves him and Mitch says the same thing, but feels guilty for doing so immediately after. That night, Mitch and Jamie begin to have sex with each other, but Mitch angrily finds that his guilt will not allow him to become erect, and he admits that he is not cut out for the responsibilities of an adult. Jamie comforts him, and he discreetly rests his head on her breasts. answer the following question: Whose wife is Mitch unable to have sex with?
Answer:
Dave