[Q]: The following article contains an answer for the question: What is the last name of the person whose last concert with Bernac before his retirement from public performance marked his birthday late? , can you please find it? In 1958 Poulenc embarked on a collaboration with his old friend Cocteau, in an operatic version of the latter's 1930 monodrama La Voix humaine. The work was produced in February 1959 at the Opera-Comique, under Cocteau's direction, with Duval as the tragic deserted woman speaking to her former lover by telephone. In May Poulenc's 60th birthday was marked, a few months late, by his last concert with Bernac before the latter's retirement from public performance.Poulenc visited the US in 1960 and 1961. Among his works given during these trips were the American premiere of La Voix humaine at Carnegie Hall in New York, with Duval, and the world premiere of his Gloria, a large-scale work for soprano, four-part mixed chorus and orchestra, conducted in Boston by Charles Munch. In 1961 Poulenc published a book about Chabrier, a 187-page study of which a reviewer wrote in the 1980s, "he writes with love and insight of a composer whose views he shared on matters like the primacy of melody and the essential seriousness of humour." The works of Poulenc's last twelve months included Sept repons des tenebres for voices and orchestra, the Clarinet Sonata and the Oboe Sonata.On 30 January 1963, at his flat opposite the Jardin du Luxembourg, Poulenc suffered a fatal heart attack. His funeral was at the nearby church of Saint-Sulpice. In compliance with his wishes, none of his music was performed; Marcel Dupre played works by Bach on the grand organ of the church. Poulenc was buried at Pere Lachaise Cemetery, alongside his family.
****
[A]: Poulenc
input: Please answer the following: The following article contains an answer for the question: What was the name of the shipyard that joined the strike under the leadership of Marian Jurczyk? , can you please find it? On August 16, delegations from other strike committees arrived at the shipyard. Delegates (Bogdan Lis, Andrzej Gwiazda and others) together with shipyard strikers agreed to create an Inter-Enterprise Strike Committee (Miedzyzakadowy Komitet Strajkowy, or MKS). On August 17 a priest, Henryk Jankowski, performed a mass outside the shipyard's gate, at which 21 demands of the MKS were put forward. The list went beyond purely local matters, beginning with a demand for new, independent trade unions and going on to call for a relaxation of the censorship, a right to strike, new rights for the Church, the freeing of political prisoners, and improvements in the national health service.Next day, a delegation of KOR intelligentsia, including Tadeusz Mazowiecki, arrived to offer their assistance with negotiations. A bibua news-sheet, Solidarnosc, produced on the shipyard's printing press with KOR assistance, reached a daily print run of 30,000 copies. Meanwhile, Jacek Kaczmarski's protest song, Mury (Walls), gained popularity with the workers.On August 18, the Szczecin Shipyard joined the strike, under the leadership of Marian Jurczyk. A tidal wave of strikes swept the coast, closing ports and bringing the economy to a halt. With KOR assistance and support from many intellectuals, workers occupying factories, mines and shipyards across Poland joined forces. Within days, over 200 factories and enterprises had joined the strike committee. By August 21, most of Poland was affected by the strikes, from coastal shipyards to the mines of the Upper Silesian Industrial Area (in Upper Silesia, the city of Jastrzebie-Zdroj became center of the strikes, with a separate committee organized there, see Jastrzebie-Zdroj 1980 strikes). More and more new unions were formed, and joined the federation.
++++++++++
output: Szczecin Shipyard
Problem: The following article contains an answer for the question: What is the name of the artist that would have drawn the oil study about two wrestlers grappling in three evenings? , can you please find it? The Wrestlers is an oil study from life, depicting a black and a white wrestler grappling. Although at first glance the white wrestler appears to be dominant, the figures are in fact equally matched; this was unusual for the time, as it was a common belief in Britain in this period that black people were physically weaker than whites. Showing the subjects under bright light, the painting is a combination of intense juxtapositions between intimacy and violence, dark and light skin, and hard and soft surfaces. The black wrestler is naked; the white wrestler wears a loincloth, although it is possible that this was added after Etty's death. The intense light casts deep shadows, emphasising the curves and musculature of the wrestlers' bodies, as the skin of the two combatants is stretched and distorted under the pressure of the grapple. The figures are set against a dark green curtain and a brown wall, rather than in a wrestling ring.The identity of the wrestlers is not known. Alison Smith, Lead Curator of British Art to 1900 at Tate, speculates that the white figure may have been John Wilton of Somerset, who had possibly been the model for Little John in Daniel Maclise's 1839 Robin Hood and His Merry Men Entertaining Richard the Lionheart in Sherwood Forest. The figures glisten with sweat. Art historian Sarah Victoria Turner speculates that this is not simply for dramatic effect, but reflects the fact that after the Royal Academy's 1837 move to its new building in Trafalgar Square the studio used by the life class was a cramped and poorly ventilated room lit by gaslight, which when crowded with students and with the lights on could become extremely hot. The Wrestlers is thought to have been painted in around 1840. It is likely that it was executed at the Royal Academy's life class; despite his senior status, Etty continued to attend there throughout his life. While students at the class usually worked from a single model, Etty would occasionally arrange for "a Treat", in which a group of models would be used to...

A:
Etty