In this task, you are given a set of context paragraphs, some supporting facts and an answer of a question. Your task is to generate question for given answer based on set of context paragraphs, supporting facts and an answer.

Let me give you an example: Context_1 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an "American original". He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Context_2 : Daniel Evan Freeman (born 27 April 1959) is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands. He is also active as a pianist and music editor. Context_3 : Art music (also known as Western classical music, cultivated music, serious music, canonic music, and more flippantly, real music or normal music) is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. "Serious" or "cultivated" music are terms frequently used as a contrast for ordinary, everyday music (popular and folk music, also called "vernacular music"). After the 20th century, art music was divided into two extensions: "serious music" and "light music". Context_4 : In the history of European art music, the term "common practice period" refers to the era between the formation and the dissolution of the tonal system. Though there are no exact dates for this phenomenon, most features of the common-practice period persisted from the mid to late baroque period, through the Classical and Romantic periods, or roughly from around 1650 to 1900. While certain prevailing patterns and conventions characterize the music of this period, the time period also saw considerable stylistic evolution. Some conventions evolved during this period that were rarely employed at other times during what may still be labeled "common practice" (for example, Sonata Form). Thus, the dates 16501900 are necessarily nebulous and arbitrary borders that depend on context. The most important unifying feature through this time period concerns a harmonic language to which modern music theorists can apply Roman numeral analysis. Context_5 : The Festival Oude Muziek Utrecht ("Utrecht Early Music Festival") is an annual music festival that showcases and celebrates early European art music. The ten-day festival takes place in the Dutch city of Utrecht, and begins in August. The programme comprises concerts, activities, lectures, exhibitions, and a symposium. Context_6 : Assaf Shelleg (Hebrew: ), is a musicologist and pianist, a senior lecturer of musicology at The Hebrew University of Jerusalem. He was previously the Schusterman Visiting Assistant Professor of Musicology and Jewish Studies in the Department of Religious Studies at the University of Virginia (201114), and had taught prior to that as the visiting Efroymson Scholar in the Jewish, Islamic & Near Eastern Languages and Cultures Department at Washington University in St. Louis (200911). Shelleg specializes in twentieth-century Jewish and Israeli art music and has published in some of the leading journals in both musicology and Israel Studies on topics ranging from the historiography of modern Jewish art music to the theological networks of Israeli art music. Shelleg's book, "Jewish Contiguities and the Soundtrack of Israeli History", appeared in November 2014 with Oxford University Press. The book studies the emergence of modern Jewish art music in central and Western Europe (1910s-1930s) and its translocation to Palestine/Israel (1930s-1970s), exposing the legacies of European antisemitism and religious Judaism in the making of Israeli art music. Moving to consider the dislocation of modern Jewish art music the book examines the paradoxes embedded in a Zionist national culture whose rhetoric negated its pasts, only to mask process of hybridizations enchained by older legacies. "Jewish Contiguities" has won the 2015 Engle Prize for the study of Hebrew Music, and the 2016 Jordan Schnitzer Book Award. Context_7 : Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads. In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song. In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes). Context_8 : David Wallis Reeves (February 14, 1838 March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876. Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March". Charles Ives also borrowed from the "Second Connecticut" on four occasions. Context_9 : "Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see List of classical and art music traditions." Context_10 : Progressive music is music that subverts genre and expands stylistic boundaries outwards. Rooted in the idea of a cultural alternative, musical progressiveness embodies a continuous move between explicit and implicit references to genres and strategies derived from various cultural domains, such as European art music, Celtic folk, West Indian, or African. The word "progressive" comes from the basic concept of "progress", which refers to development and growth by accumulation, and is often deployed in numerous music genres such as progressive country, progressive folk, progressive jazz, and (most significantly) progressive rock. fact_1 : Charles Ives also borrowed from the "Second Connecticut" on four occasions. fact_2 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. fact_3 : He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Answer: 1874May
The answer to this example can be: What is the birthyear of the American composer that borrowed from "Second Connecticut" on four occasions and combined American popular and church-music traditions with European art music?
Here is why: From the fact_1 from context _8, and fact _2 and fact _3 from context _1, we can arrive at 1874 May which is accurate answer of generated question.

OK. solve this:
Context_1 : "Zoroastre"'s premiere in 1749 was not a success; despite the magnificence of the staging, it failed to compete with Mondonville's new "opera-ballet" "Le carnaval du Parnasse". Rameau and Cahusac decided to rework the opera completely before offering it to the public again in 1756. Acts 2,3 and 5 were heavily rewritten and there were several modifications to the plot. This time audiences took to the opera, although the critic Melchior Grimm was withering about Cahusac's libretto: "In "Zoroastre" it is day and night alternately; but as the poet...cannot count up to five he has got so muddled in his reckoning that he has been compelled to make it be day and night two or three times in each act, so that it might be day at the end of the play". "Zoroastre" was chosen to open the new Paris opera house on January 26, 1770, the old one having burned down in 1763. It was also translated into Italian by Casanova for a performance in Dresden in 1752, although some of Rameau's music was replaced by that of the ballet master Adam. Its first modern revival was in a concert version at the Schola Cantorum, Paris in 1903. The United States premiere of the opera was staged by Boston Baroque (then known as Banchetto Musicale) at Harvard University's Sanders Theater under conductor Martin Pearlman in 1983 with Jean Claude Orliac in the title role and James Maddalena as Abramane. Context_2 : Uno sguardo dal ponte is an opera in two acts by composer Renzo Rossellini. The work uses an Italian language libretto by Gerardo Guerrieri which is based on Arthur Miller's play "A View from the Bridge". The opera premiered at the Teatro dell'Opera di Roma on March 11, 1961 using a staging by Franco Rossellini, the composer's son. The premiere cast included Clara Petrella, Gianna Galli, Alfredo Kraus, Giuseppe Valdengo, and Nicola Rossi-Lemeni. The Philadelphia Lyric Opera Company presented the United States premiere of the opera on October 17, 1967 with Rossi-Lemeni as Eddie Carbone and Gloria Lane as Beatrice. Context_3 : The Vanishing Bridegroom is an opera by composer Judith Weir. Commissioned by the Glasgow District Council, the opera was premiered by the Scottish Opera as a part of the 1990 European Capital of Culture celebrations in Glasgow. The United States premiere of the opera was given by the Opera Theatre of Saint Louis in 1992 with soprano Lauren Flanigan as the Bride/Wife/Mother. Context_4 : The opera was first performed at the Opera Comique in Paris on 8 May 1894. After its premiere the work was performed at La Monnaie in November 1894 and the Teatro del Fondo in Naples in December 1894. The work received its United States premiere at the French Opera House in New Orleans in 1895. It was also produced at The Waldorf-Astoria Hotel on 13 December 1897. The Opera Comique revived the opera in 1900 and it was mounted at the Theatre Lyrique in September 1922, after which the work fell out of the performance repertory. After a more than 60-year absence from the stage, "Le portrait de Manon" was mounted at La Fenice on 13 April 1985. Four years later the Opera de Monte-Carlo staged the work. The opera was most recently revived by the Glimmerglass Opera in 2005. In 2014 "kultur.theater.musik" produced the first performance in German (as "") at the 'Sommeroper im Amthof' festival in Feldkirchen, Carinthia, and in other theatres in Lower Austria. Context_5 : The Palace Theatre is a stage production venue at 76-96 Hanover Street in Manchester, New Hampshire, United States. Built in 1914, the theatre was listed on the National Register of Historic Places as the Athens Building. Context_6 : Die schwarze Maske ("The Black Mask") is an opera by composer Krzysztof Penderecki using a German libretto by the composer and Harry Kupfer which is based on a 1928 play by Gerhart Hauptmann. The opera premiered at the Salzburg Festival on 15 August 1986, after which there were productions mounted at the Vienna State Opera and the Great Theatre, Warsaw during the following opera season. The work had its United States premiere on July 30, 1988 at the Santa Fe Opera with a cast that included Mark Lundberg. Context_7 : Armida, Hob. XXVIII/12, is an opera in three acts by Joseph Haydn, set to a libretto based upon Torquato Tasso's poem "Gerusalemme liberata" ("Jerusalem Delivered"). The first performance was 26 February 1784 and it went on to receive 54 performances from 1784 to 1788 at the Esterhaza Court Theatre. During the composer's lifetime it was also performed in Pressburg, Budapest, Turin and Vienna. Haydn himself regarded "Armida" as his finest opera. "Armida" then disappeared from the general operatic repertoire; it was revived in 1968 in a concert rendition in Cologne, and later a production in Bern. The United States premiere of the opera was given at the Palace Theatre in Manchester, New Hampshire, with the New Hampshire Symphony Orchestra for the Monadnock Music Festival in September 1981. Sarah Reese sang the title role; the director Peter Sellars set the production during the Vietnam War. Context_8 : La reine Fiammette is an opera in four acts by composer Xavier Leroux. The opera uses a French language libretto by Catulle Mendes which is based on Mendes's 1898 work of the same name, a "conte dramatique" in six acts set in Renaissance Italy. The opera's premiere was given by the Opera-Comique at the Salle Favart theatre in Paris on 23 December 1903. The production was directed by Albert Carre and conducted by Andre Messager. The United States premiere of the work was given at the Metropolitan Opera in New York City on 24 January 1919. That production was directed by Richard Ordynski, conducted by Pierre Monteux, and starred Geraldine Farrar as Orlanda, Hipolito Lazaro as Danielo, Adamo Didur as Giorgio, Leon Rothier as Cesar, and Flora Perini as Pantasilee. Up to the Second World War the opera received 59 performances at the Opera-Comique. Context_9 : Marouf, savetier du Caire ("Marouf, Cobbler of Cairo") is an "opera comique" by the French composer Henri Rabaud. The libretto, by Lucien Nepoty, is based on a tale from the "Arabian Nights". "Marouf" was first performed at the Opera-Comique, Paris, on 15 May 1914. The premiere was a great success and "Marouf" became Rabaud's most popular opera. The score makes great use of oriental colour. The United States premiere of the opera was given at the Metropolitan Opera on December 19, 1917, with Giuseppe De Luca in the title role, Frances Alda as Princess Saamcheddine, and Pierre Monteux conducting. The opera was revived at the Opera-Comique in 2013 in a production by Jerome Deschamps, with Jean-Sebastien Bou in the title role, conducted by Alain Altinoglu. Context_10 : Tea: A Mirror of Soul (Chinese "tea") is a 2002 Chinese-language western-style opera by Tan Dun, to a libretto by the composer and Peking opera librettist Xu Ying. The opera was commissioned by Suntory Hall in Tokyo, Japan and was given its world premiere performance there. The United States premiere was given on July 21, 2007 at the Santa Fe Opera in Santa Fe, New Mexico. fact_1 : The United States premiere of the opera was given at the Palace Theatre in Manchester, New Hampshire, with the New Hampshire Symphony Orchestra for the Monadnock Music Festival in September 1981. fact_2 : The Palace Theatre is a stage production venue at 76-96 Hanover Street in Manchester, New Hampshire, United States. Answer: New Hampshire
Answer:
The theatre in which the United States premiere of the opera Armida was given is located in which state?