input: Please answer the following: Found the following article online, use it to answer the question: What did Eve have in common with her daughter that manifests as her seducing the detective trying to solve the disappearance? In 1988, when Katrina "Kat" Connors was 17, her beautiful but mercurial mother, Eve, disappeared without a trace. The story weaves back-and-forth with flashbacks of Eve's past life and the present day. In the flashbacks, Eve was a wild girl who gradually changed into a domesticated housewife after marrying Brock, an ordinary man who leads an uneventful life. While Kat explores her blossoming sexuality with her handsome but dim-witted neighbor and schoolmate, Phil, Eve struggles to deal with aging and quenching her youthful wildness. She tries to be sexy when Brock is away, even luring Phil's attention. After Eve disappears, Kat deals with her abandonment without much issue, occasionally releasing her own wild side, seducing the detective investigating her mother's disappearance. The film then jumps forward three years to the spring of 1991. On a break from college, Kat returns home and seems unfazed to learn that her father is in a relationship with a co-worker. The detective Kat has been having an affair with informs her that Brock might have killed Eve after catching her cheating. Kat dismisses this theory, just like she did three years ago, but after mentioning the topic to her friends Beth and Mickey they tell her they suggested this same theory to her and she dismissed them as well. Kat suspects Phil of having slept with Eve and confronts him the night before she is to return to college, but Phil angrily rebuffs it and tells her that her father knows where her mother is.
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output: her own wild side

input: Please answer the following: Found the following article online, use it to answer the question: What is the name of the person that James Walker produced his recordings? Solti recorded throughout his career for the Decca Record Company. He made more than 250 recordings, including 45 complete opera sets. During the 1950s and 1960s Decca had an alliance with RCA Victor, and some of Solti's recordings were first issued on the RCA label.Solti was one of the first conductors who came to international fame as a recording artist before being widely known in the concert hall or opera house. Gordon Parry, the Decca engineer who worked with Solti and Culshaw on the Ring recordings, observed, "Many people have said 'Oh well, of course John Culshaw made Solti.' This is not true. He gave him the opportunity to show what he could do."Solti's first recordings were as a piano accompanist, playing at sessions in Zurich for the violinist Georg Kulenkampff in 1947. Decca's senior producer, Victor Olof did not much admire Solti as a conductor (nor did Walter Legge, Olof's opposite number at EMI's Columbia Records), but Olof's younger colleague and successor, Culshaw, held Solti in high regard. As Culshaw, and later James Walker, produced his recordings, Solti's career as a recording artist flourished from the mid-1950s. Among the orchestras with whom Solti recorded were the Berlin Philharmonic, Chicago Symphony, London Philharmonic, London Symphony and Vienna Philharmonic orchestras. Soloists in his operatic recordings included Birgit Nilsson, Joan Sutherland, Regine Crespin, Placido Domingo, Gottlob Frick, Carlo Bergonzi, Kiri Te Kanawa and Jose van Dam. In concerto recordings, Solti conducted for, among others, Andras Schiff, Julius Katchen, Clifford Curzon, Vladimir Ashkenazy and Kyung-wha Chung.Solti's most celebrated recording was Wagner's Der Ring des Nibelungen made in Vienna, produced by Culshaw, between 1958 and 1965. It has twice been voted the greatest recording ever made, the first poll being among readers of Gramophone magazine in 1999, and the second of professional music critics in 2011, for the BBC's Music Magazine.
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output: Solti

input: Please answer the following: Found the following article online, use it to answer the question: What did Mozart hear in Mannheim? During the 1750s Messiah was performed increasingly at festivals and cathedrals throughout the country. Individual choruses and arias were occasionally extracted for use as anthems or motets in church services, or as concert pieces, a practice that grew in the 19th century and has continued ever since. After Handel's death, performances were given in Florence (1768), New York (excerpts, 1770), Hamburg (1772), and Mannheim (1777), where Mozart first heard it. For the performances in Handel's lifetime and in the decades following his death, the musical forces used in the Foundling Hospital performance of 1754 are thought by Burrows to be typical. A fashion for large-scale performances began in 1784, in a series of commemorative concerts of Handel's music given in Westminster Abbey under the patronage of King George III. A plaque on the Abbey wall records that "The Band consisting of DXXV [525] vocal & instrumental performers was conducted by Joah Bates Esqr." In a 1955 article, Sir Malcolm Sargent, a proponent of large-scale performances, wrote, "Mr Bates ... had known Handel well and respected his wishes. The orchestra employed was two hundred and fifty strong, including twelve horns, twelve trumpets, six trombones and three pairs of timpani (some made especially large)." In 1787 further performances were given at the Abbey; advertisements promised, "The Band will consist of Eight Hundred Performers".In continental Europe, performances of Messiah were departing from Handel's practices in a different way: his score was being drastically reorchestrated to suit contemporary tastes. In 1786, Johann Adam Hiller presented Messiah with updated scoring in Berlin Cathedral. In 1788 Hiller presented a performance of his revision with a choir of 259 and an orchestra of 87 strings, 10 bassoons, 11 oboes, 8 flutes, 8 horns, 4 clarinets, 4 trombones, 7 trumpets, timpani, harpsichord and organ. In 1789, Mozart was commissioned by Baron Gottfried van Swieten and the Gesellschaft der Associierten to re-orchestrate several...
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output:
Messiah