Question:
Theodore Ernest Els (; born 17 October 1969) is a South African professional golfer. A former World No. 1, he is known as "The Big Easy" due to his imposing physical stature (he stands 6 ft 3 in (1.91 m)) along with his fluid golf swing. Among his 71 career victories are four major championships: the U.S. Open in 1994 at Oakmont and in 1997 at Congressional, and The Open Championship in 2002 at Muirfield and in 2012 at Royal Lytham & St Annes. He is one of six golfers to twice win both the U.S. Open and The Open Championship.
1997 was a career year for Els first winning his second U.S. Open (once again over Colin Montgomerie) this time at Congressional Country Club, making him the first foreign player since Alex Smith (1906, 1910) to win the U.S. Open twice. He defended his Buick Classic title and added the Johnnie Walker Classic to his list of victories. Els nearly won the World Match Play Championship for a fourth consecutive year, but lost to Vijay Singh in the final. 1998 and 1999 continued to be successful years for Els with 4 wins on both the PGA and European tours. 2000 started in historic fashion for Els being given a special honour by the Board of Directors of the European Tour awarding him with honorary life membership of the European Tour because of his two U.S. Opens and three World Match Play titles. 2000 was the year of runners-up for Els; with three runner-up finishes in the Majors (Masters, U.S. Open and The Open Championship) and seven second-place finishes in tournaments worldwide. Els had a disappointing 2001 season, failing to win a US PGA tour event for the first time since 1994 although he ended the year with nine second-place finishes. 2002 was arguably Els's best year, which started with a win at the Heineken Classic at the Royal Melbourne Golf Club. Then went to America and outplayed World Number one Tiger Woods to lift the Genuity Championship title. The premier moment of the season was surely his Open Championship triumph in very tough conditions at Muirfield. Els overcame a four-man playoff to take home the famous Claret Jug trophy for the first time, also quieting his critics about his mental toughness. The South African also won his fourth World Match Play title, along with his third Nedbank Challenge in the last four years, dominating a world-class field and winning by 8 shots.
Answer this question using a quote from the text above:

what did he do after winning his second US open?

Answer:
He defended his Buick Classic title and added the Johnnie Walker Classic to his list of victories.

Answer the question at the end by quoting:

Mary Violet Leontyne Price (born February 10, 1927) is an American soprano. Born and raised in Laurel, Mississippi, she rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading artist at the Metropolitan Opera. One critic characterized Price's voice as "vibrant", "soaring" and "a Price beyond pearls", as well as "genuinely buttery, carefully produced but firmly under control", with phrases that "took on a seductive sinuousness." Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortlessly soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C." A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to the roles of Giuseppe Verdi and Giacomo Puccini, as well as several in operas by Wolfgang Amadeus Mozart.
Price's career climaxed on September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber and conducted by Thomas Schippers, commissioned to open the Met's new house at Lincoln Center. The role of Cleopatra was written especially for Price. Since their early collaborations, Price and Barber had remained close friends and colleagues, and the composer tailored Cleopatra's music to Price's warm middle register and soaring top. In the performances, although Price's singing was praised, especially in a powerful death scene, the opera as a whole was widely considered a failure. Director Franco Zeffirelli was blamed for burying the music under heavy costumes and huge scenery. Bing admitted he had underestimated the challenge of mounting nine new productions that season (three in the first week), and relying heavily on untested high-tech equipment. (In rehearsals, an expensive turntable broke down and, in the dress rehearsal, another mechanical failure left Price trapped briefly inside a giant pyramid.) The pressures and many of the glitches were chronicled by cameras for a Bell Telephone Hour special documentary, directed by Robert Drew. Still others complained that Barber's score was difficult to grasp because of the dense Shakespearean verse, and lacked satisfying set pieces (apart from the death scene). The opera was never revived at the Met. However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and subsequently recorded. Price lobbied Kurt Herbert Adler to have it produced in San Francisco, but did not succeed.

Did they make any changes because of the complaints?
However, with the help of Gian Carlo Menotti, Barber later reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise.