input: Please answer the following: The following article contains an answer for the question: What is the last name of the person who recruited her niece Lilian Baylis to help run the theatre? , can you please find it? In 1889, Emma Cons, a Victorian philanthropist who ran the Old Vic theatre in a working-class area of London, began presenting regular fortnightly performances of opera excerpts. Although the theatre licensing laws of the day prevented full costumed performances, Cons presented condensed versions of well-known operas, always sung in English. Among the performers were noted singers such as Charles Santley. These operatic evenings quickly became more popular than the dramas that Cons had been staging separately. In 1898, she recruited her niece Lilian Baylis to help run the theatre. At the same time she appointed Charles Corri as the Old Vic's musical director. Baylis and Corri, despite many disagreements, shared a passionate belief in popularising opera, hitherto generally the preserve of the rich and fashionable. They worked on a tiny budget, with an amateur chorus and a professional orchestra of only 18 players, for whom Corri rescored the instrumental parts of the operas. By the early years of the 20th century, the Old Vic was able to present semi-staged versions of Wagner operas.Emma Cons died in 1912, leaving her estate, including the Old Vic, to Baylis, who dreamed of transforming the theatre into a "people's opera house". In the same year, Baylis obtained a licence to allow the Old Vic to stage full performances of operas. In the 19141915 season, Baylis staged 16 operas and 16 plays (13 of which were by Shakespeare). In the years after the First World War, Baylis's Shakespeare productions, which featured some of the leading actors from London's West End, attracted national attention, as her shoe-string opera productions did not. The opera, however, remained her first priority. The actor-manager Robert Atkins, who worked closely with Baylis on her Shakespearean productions, recalled, "Opera, on Thursday and Saturday nights, played to bulging houses."
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output: Cons

input: Please answer the following: The following article contains an answer for the question: What are the first names of the men who did not find a new love interest? , can you please find it? Ivanova documents 10 men from the United States, Canada, France and Sweden as they travel to Odessa, Ukraine, on a romantic tour, arranged by an online dating company AnastasiaDate, to look for possible wives. While there, the men go to several social events, including a beauty pageant at a nightclub, where they meet large numbers of attractive, single women. The interactions at the socials and on the dates the men go on are facilitated by translators. The 84-minute movie is broken into 10 segments or chapters, one for each day of the trip, and each with its own subtitle. It uses a framing device of footage of Michael Lau, a Chinese man living in Richmond, British Columbia, who states he has never had 'real girls' in his life, at the beginning of the film. He says that after 30 years in Canada, he is under family pressure to get married. Other men include Calvin, a Marine veteran; Ramon, a doctor; and Ernie, a man from Minnesota. Except for Lau, the other men who don't reveal their last names, cite bad experiences with women, including divorces, as their motivation for joining AnastasiaDate, an online dating site, and going on the trip. They believe that Ukrainian women have more traditional values when compared to the values of non-Ukrainian women. At the end of the movie, Lau is shown back in his apartment, using his computer to explore the AnastasiaDate.com website after having gone on 10 dates during the trip but failing to find a woman who returns his interest. The film closes with superimposed text that states only one relationship resulted from the trip: one of the interpreters, Lilya, divorced her husband six months after filming, and moved to Minnesota with her daughter to marry Ernie.
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output: Calvin

input: Please answer the following: The following article contains an answer for the question: What is the full name of Durer's father who wears a dark shirt, russet coat and a black hat lined with fur? , can you please find it? Durer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than paintingat this young age Durer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period. Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Durer presents his father more like a low-ranking ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Durer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in...
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output:
Albrecht the Elder