input: Dominic Ierace was born in New Castle, Pennsylvania, but grew up in Ellwood City, Pennsylvania. The son of father Sam and mother Carrie Ierace, young Dominic began to learn how to sing at an early age from his mother, who had sung in Curly Venezie's orchestra. He practiced earlier on by singing along with his mother's favorite singers, Frank Sinatra and Tony Bennett. Per his mother's encouragement, Ierace began singing at weddings at age five, and by eight was performing on local television and entering talent contests. Over time, Ierace began to develop his own interests in music with the advent of rock music, drawing inspiration from Elvis Presley and Buddy Holly and later from the Beatles, the Rolling Stones and even R&B and soul artists Marvin Gaye and Ray Charles in addition to other Motown acts. The popularity of rock and roll inspired Ierace to become a self-taught guitarist. When his voice changed around age 12, he gave up singing and took up the drums. About the time he was a senior in high school (circa 1961), Ierace's voice changed again, and he got back into singing. He formed a vocal doo-wop group called the Fabutons with Johnny Roth, Anthony Matteo, Lou Delessandro and Chuckie Hasson and performed gigs around Beaver and Lawrence counties in Pennsylvania. However, the group only performed a few times before they disbanded and Ierace went to college. While attending Slippery Rock State College, Ierace formed a band called the Tri-Vels with guitarist Jim Evans and drummer Dave Amodie, two fellow students at Slippery Rock. With the addition of bassist Dave Reiser, they renamed themselves Donnie and the Donnells. This band in both incarnations played R&B and pop rock covers at fraternity parties and lasted from about 1961 to 1964.

Answer this question "After disbanding, did Iris find a new band?"
output: While attending Slippery Rock State College, Ierace formed a band called the Tri-Vels with guitarist Jim Evans and drummer Dave Amodie, two fellow students at Slippery Rock.

input: In 1885, Cellier composed a song, "There once was a time, my darling", for a piece produced by George Edwardes, Little Jack Sheppard (1885). Meanwhile he had composed what would become his greatest success, the comic opera Dorothy, with a libretto by B. C. Stephenson. To create the score, Cellier repurposed some of his music from his 1876 failure, Nell Gwynne, which had, nevertheless, received praise for its music. Dorothy had been announced for production at the Royalty Theatre in 1884, but ultimately Edwardes mounted it at his Gaiety Theatre on 25 September 1886. Cellier was in Australia from February 1886 to February 1887, conducting The Mikado and other Gilbert and Sullivan operas for the J. C. Williamson organization and was absent from London during the productions of The Carp, at the Savoy, and Dorothy. Neither the music nor the libretto of Dorothy initially attracted critical praise. The Times wrote, "Gentility reigns supreme, and with it unfortunately also a good deal of the refined feebleness and the ineptitude which are the defects of that quality." Stephenson rewrote the lyrics of one of Cellier's old songs, "Old Dreams" as "Queen of My Heart"; this helped the work to find success after it transferred in December to the Prince of Wales Theatre. The following year H. J. Leslie took over the production from Edwardes and introduced new stars, including Marie Tempest. Dorothy became an even greater success at the box office and transferred in December 1888 to the Lyric Theatre, built using the profits from the production, where it ran into 1889. Its initial run of a total of 931 performances was the longest of any piece of musical theatre up to that time, longer than even The Mikado, a fact that caused consternation to Cellier's friend Arthur Sullivan. Some critics reconsidered their earlier condemnation, the work became regarded as a classic Victorian piece, and the initially despised plot was traced seriously back to the Restoration playwrights David Garrick and Aphra Behn, and to Oliver Goldsmith and even Shakespeare. Its success led to revivals of some of Cellier's earlier works. Cellier returned to Australia in 1888 to conduct Dorothy and made a final brief visit there for health reasons in early 1891, together with Stephenson. His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies. Often in ill health throughout his life, Cellier was unable to finish The Mountebanks, and Ivan Caryll completed the score. Cellier owed much to the influence of Sullivan. He was a fertile melodist, and his writing exhibited elegance and refinement, although he was not able to infuse his music with humour in the way that Sullivan did. Cellier died at his home in Bloomsbury, London, at the age of 47. He was buried in West Norwood Cemetery.

Answer this question "What else can you share about the article?"
output:
Stephenson rewrote the lyrics of one of Cellier's old songs, "Old Dreams" as "Queen of My Heart"; this helped the work to find success