[Q]: The following article contains an answer for the question: Who is left all on an empty plain with the city of Jerusalem visible in the distance? , can you please find it? A mountainside, at the magician's cavern. Goffredo and Eustazio are told by the Magician that Almirena is being held captive in Armida's palace at the mountain-top. Ignoring the magician's warning that they will need special powers, the pair set off for the palace but are quickly driven back by Armida's monsters. The magician then gives them magic wands that transcend Armida's power, and they set off again. This time they overcome the monsters, but as they reach the gates of the palace it disappears, leaving them clinging to a rock in the midst of a stormy sea. They climb the rock and descend out of sight. In the palace garden Armida prepares to kill Almirena. Rinaldo draws his sword, but Armida is protected from his wrath by spirits. Suddenly Goffredo and Eustazio arrive, but as they touch the garden with their wands it disappears, leaving them all on an empty plain with the city of Jerusalem visible in the distance. Armida, after a last attempt to kill Almirena, also disappears as Rinaldo strikes her with his sword. The remaining four celebrate their reunion, while Goffredo announces that the attack on Jerusalem will begin the next day. In the city, Argante and Armida, in danger from a common enemy, become reconciled and prepare their troops for battle. Goffredo's army advances, and battle finally commences. After a struggle for supremacy, Jerusalem falls to Goffredo; Argante is overcome and captured by Rinaldo, while Armida is taken by Eustazio. Rinaldo and Almirena celebrate their love and forthcoming marriage. Armida, accepting her defeat, breaks the wand which is the source of her evil power and together with Argante embraces Christianity. Goffredo expresses his forgiveness to his beaten foes and sets them free, before victors and vanquished join in a chorus of reconciliation.
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[A]: Eustazio
input: Please answer the following: The following article contains an answer for the question: What is the last name of the person who found critical and commercial success in Paris? , can you please find it? Kertesz emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancee Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jeno later emigrated to Argentina. Elizabeth Kertesz remained until her future husband was well enough established in Paris that they could marry. Kertesz was among numerous Hungarian artists who emigrated during these decades, including Francois Kollar, Robert Capa, Emeric Feher, Brassai, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period. Initially Kertesz took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertesz changed his first name to Andre, which he kept for the rest of his life. In Paris he found critical and commercial success. In 1927 Kertesz was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertesz had become connected with members of the growing Dada movement. Paul Dermee dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertesz was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertesz's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertesz and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life. Visiting his sculptor friends, he was fascinated by the Cubism movement. He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertesz switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine...
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output: Kertesz
Problem: The following article contains an answer for the question: What is the name of the person that conducted the Viola Concerto , can you please find it? From the days of 78 rpm discs, when relatively little modern music was being put on record, Walton was favoured by the record companies. In 1929 the small, new Decca company recorded eleven movements from Facade, with the composer conducting a chamber ensemble, with the speakers Edith Sitwell and Walton's friend and colleague Constant Lambert. In the 1930s, Walton also had two of his major orchestral works on disc, both on Decca, the First Symphony recorded by Harty and the London Symphony Orchestra, and the Viola Concerto with Frederick Riddle and the LSO conducted by the composer. In the 1940s Walton moved from Decca to its older, larger rival, EMI. The EMI producer Walter Legge arranged a series of recordings of Walton's major works and many minor ones over the next twenty years; a rival composer expressed the view that if Walton had an attack of flatulence (he used an earthier expression), Walter Legge would record it.Walton himself, although a reluctant conductor, conducted many of the EMI recordings, and some for other labels. He made studio recordings of the First Symphony, the Viola Concerto, the Violin Concerto, the Sinfonia Concertante, the Facade Suites, the Partita, Belshazzar's Feast, and suites from his film scores for Shakespeare plays and The First of the Few. Some live performances conducted by Walton were recorded and have been released on compact disc, including the Cello Concerto and the Coronation Te Deum.Almost all Walton's works have been recorded for commercial release. EMI published a "Walton Edition" of his major works on CD in the 1990s, and the recording of the Chandos Records "Walton Edition" of his works was completed in 2010. His best-known works have been recorded by performers from many countries. Among the frequently recorded are Belshazzar's Feast, the Viola and Violin Concertos and the First Symphony, which has had more than twenty recordings since Harty's 1936 set.

A:
Walton