[Q]: Given the below context: Lee and Vivien Warren (Portman and Gynt) are trapped in a nightmare marriage. Vivien is despising, devious and habitually unfaithful while Lee is pathologically jealous. On his return from a lengthy business trip to New York, Lee finds several cards addressed to Vivien signed "Love Always" and determines to kill her latest lover, Richard Fenton. He confronts Fenton, who admits to his affair with Vivien, and persuades him to end the relationship by writing her a farewell letter. He then kills Fenton, and stages the scene to look like a suicide, believing he has committed the perfect crime as the letter which Fenton had just written at his dictation has all the appearance of a suicide note. His scheme goes awry when he discovers immediately after the fact that Vivien and Fenton had in fact broken up some time before, and Fenton had been humouring him by writing the note. He is guilt-stricken at having killed Fenton needlessly, and realises that any suggestion of suicide on Fenton's part in despair over Vivien will now seem absurd to the police. When he discovers that Vivien now has a new beau, Jimmy Martin, he takes the opportunity to frame Martin for the crime, reasoning that this will serve the dual purpose of shifting suspicion away from himself while at the same time getting Vivien's current lover out of the way. While he arranges matters so that all the evidence points to Martin, the policeman in charge of the case has his doubts about the case but is unable to catch Lee out. Vivien begs her husband to intercede on Martin's behalf, promising to remain faithful in the future if he can devise a way to save Martin from the gallows without incriminating himself. Lee comes up with what he thinks will be the perfect solution to save Martin and thus keep Vivien, but then discovers he may have underestimated her cunning. Guess a valid title for it!
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[A]: Dear Murderer
input: Please answer the following: Given the below context: The Royal Opera House, often referred to as simply "Covent Garden", was constructed as the "Theatre Royal" in 1732 to a design by Edward Shepherd. During the first hundred years or so of its history, the theatre was primarily a playhouse, with the Letters Patent granted by Charles II giving Covent Garden and Theatre Royal, Drury Lane, exclusive rights to present spoken drama in London. In 1734, the first ballet was presented; a year later Handel's first season of operas began. Many of his operas and oratorios were specifically written for Covent Garden and had their premieres here. It has been the home of The Royal Opera since 1945, and the Royal Ballet since 1946.The current building is the third theatre on the site following destructive fires in 1808 and 1857. The facade, foyer and auditorium were designed by Edward Barry, and date from 1858, but almost every other element of the present complex dates from an extensive 178 million reconstruction in the 1990s. The main auditorium is a Grade I listed building. The inclusion of the adjacent old Floral Hall, previously a part of the old Covent Garden Market, created a large new public gathering place. In 1779 the pavement outside the playhouse was the scene of the murder of Martha Ray, mistress of the Earl of Sandwich, by her admirer the Rev. James Hackman. Guess a valid title for it!
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output: Covent Garden
Please answer this: Given the below context: Inside the church of Sant'Andrea della Valle Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds. The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving. Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca enters and suspiciously asks Cavaradossi what he has been doing she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world"). After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using... Guess a valid title for it!
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Answer: Tosca
Problem: Given the below context: Philip Arnold Heseltine (30 October 1894 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle. As a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic. During 192021 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent. Through his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand. Guess a valid title for it!

A:
Peter Warlock