[Q]: Given the following context: In the 1930s, Walton's relationship with the Sitwells became less close. He had love affairs and new friendships that drew him out of their orbit. His first long affair was with Imma von Doernberg, the young widow of a German baron. She and Walton met in the late 1920s and they were together until 1934, when she left him. His later affair with Alice, Viscountess Wimborne (born 1880), which lasted from 1934 until her death in April 1948, caused a wider breach between Walton and the Sitwells, as she disliked them as much as they disliked her. By the 1930s, Walton was earning enough from composing to allow him financial independence for the first time. A legacy from a musical benefactress in 1931 further enhanced his finances, and in 1934 he left the Sitwells' house and bought a house in Belgravia.Walton's first major composition after Belshazzar's Feast was his First Symphony. It was not written to a commission, and Walton worked slowly on the score from late 1931 until he completed it in 1935. He had composed the first three of the four movements by the end of 1933 and promised the premiere to the conductor Hamilton Harty. Walton then found himself unable to complete the work. The end of his affair with Imma von Doernberg coincided with, and may have contributed to, a sudden and persistent writer's block. Harty persuaded Walton to let him perform the three existing movements, which he premiered in December 1934 with the London Symphony Orchestra. During 1934 Walton interrupted work on the symphony to compose his first film music, for Paul Czinner's Escape Me Never (1934), for which he was paid 300.After a break of eight months, Walton resumed work on the symphony and completed it in 1935. Harty and the BBC Symphony Orchestra gave the premiere of the completed piece in November of that year. The symphony aroused international interest. The leading continental conductors Wilhelm Furtwangler and Willem Mengelberg sent for copies of the score, the Chicago Symphony Orchestra premiered the work in the US under... answer the following question: Who did Alice, Viscountess Wimborne dislike?
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[A]: the Sitwells

[Q]: Given the following context: Billy Behan is a poor teenage boy from the Bronx. One day he catches the attention of gangster Dutch Schultz. Changing his last name to Bathgate, after a local street, he goes to work for Schultz's organization, serving mostly as a gopher for Schultz. Billy is present when Schultz murders his former partner Bo Weinberg, who Schultz believes betrayed him. Schultz then begins a relationship with Weinberg's beautiful, married, girlfriend, Drew Preston. Facing legal charges in a court in upstate New York, Schultz brings Billy and Drew along. He successfully charms the locals, presenting himself as charming and good natured. While his boss Dutch stands trial, Billy's job is to watch over Drew. His loyalties to Schultz are tested as he begins falling in love with the flirtatious Drew. Realizing that Drew is about to be killed, Billy calls her husband, who hurries to town and takes her home before Schultz's men can make their move. Having beaten the rap in court, Dutch is indicted again on federal tax evasion charges. He wants to have federal prosecutor Thomas Dewey murdered, but his request is rejected by the Mafia Commission. Schultz sends Billy to another gangster with some bribe money, but the effort is rejected. When Billy returns with the bad news, he and Schultz have a falling out and Billy is fired by Schultz's associate Otto, who lets him keep the bribe money as a severance package. As Billy leaves, he is abducted and beaten by gangsters working for Lucky Luciano. The men storm Dutch's hideout and kill everyone inside. Billy is taken before Luciano, who warns him that he knows where Billy's family lives, before letting him go. answer the following question: Who is the gangster responsible for storming Dutch's hideout?
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[A]: Lucky Luciano

[Q]: Given the following context: The French playwright Victorien Sardou wrote more than 70 plays, almost all of them successful, and none of them performed today. In the early 1880s Sardou began a collaboration with actress Sarah Bernhardt, whom he provided with a series of historical melodramas. His third Bernhardt play, La Tosca, which premiered in Paris on 24 November 1887, and in which she starred throughout Europe, was an outstanding success, with more than 3,000 performances in France alone.Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."Ricordi sent his agent in Paris, Emanuele Muzio, to negotiate with Sardou, who preferred that his play be adapted by a French composer. He complained about the reception La Tosca had received in Italy, particularly in Milan, and warned that other composers were interested in the piece. Nonetheless, Ricordi reached terms with Sardou and assigned the librettist Luigi Illica to write a scenario for an adaptation.In 1891, Illica advised Puccini against the project, most likely because he felt the play could not be successfully adapted to a musical form. When Sardou expressed his unease at entrusting his most successful work to a relatively new composer whose music he did not like, Puccini took offence. He withdrew from the agreement, which Ricordi then assigned to the composer Alberto Franchetti. Illica wrote a libretto for Franchetti, who was never at ease with the assignment. When Puccini once again became interested in Tosca, Ricordi was able to get Franchetti to surrender the rights so he could recommission Puccini. One story relates that Ricordi convinced Franchetti that the work was too violent to be successfully staged. A Franchetti family tradition holds that Franchetti gave the work back as a grand... answer the following question: What is the last name of the person who warned that other composers were interested in adapting La Tosca?
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[A]:
Sardou