Problem: Given the question: Given the following context: In 1878 a hardened American gunfighter arrives in a small town in the foothills of the Canadian Rockies, a place that doesn't understand or appreciate the brutal code of the American Wild West. Gunslinger Sean Lafferty, known as the Montana Kid, has a bounty on his head for killing eleven people across the western United States. He arrives in town on his horse, riding backwards, bound, with a noose around his neck, and dragging the broken tree branch over which a group had tried to hang him on the American side of the border. After being helped off his horse by a young Chinese girl named Adell, he begins to explore the town, starting with the town general store. After leaving the store, he finds his horse gone and accuses Jack, the blacksmith, of stealing it, even though Jack was simply replacing the horse's damaged shoes. After unsuccessfully trying to intimidate the blacksmith, the Montana Kid decides to call him out. Since the blacksmith has no gun, though, Sean can't shoot him because the Kid lives by a code of ethics that prevents him from killing unarmed men. When she witnesses this, Jane Taylor, one of the townsfolk, says the Kid can have her broken gun (to fix and give to Jack) if he builds her a windmill. Sean proceeds to go with her and stays in a sod house at her farm, alternately working on the windmill and repairing the gun. After a few days, however, the Kid begins to develop feelings toward Jane while also becoming friends with the townsfolk. In the meantime, a roaming band of American bounty hunters crosses into Canada and heads for the town to claim the price on Sean's head. They terrorize a camp of Chinese railroad workers to find out his whereabouts. answer the following question: What is the alias of the person who was helped off of his horse by Adell?
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The answer is:
Montana Kid

input question: Given the following context: Lawrence Morton, in a study of the origins of The Rite, records that in 190708 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps".By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka.In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite... answer the following question: What is the name of the person that finished L'Oiseau de Feu in St Petersburg????
output answer: Stravinsky

Please answer this: Given the following context: The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zurich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), Rene Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed... answer the following question: What is the last name of the man who performed the piece that won the Grand Prix du Disque in 2008 with period instruments?
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Answer:
Haim