input: O'Mara spoke on several occasions about her experience with the casting couch. On an episode of The Word in 1994, O'Mara claimed that American producer Judd Bernard pulled down her panties during a hotel-room audition for the Elvis Presley vehicle Double Trouble. In her autobiography Vamp Until Ready: A Life Laid Bare, O'Mara described this incident and "many other close encounters with... this very unpleasant and humiliating procedure", including with a well-known television casting director, the boss of Associated Television at Elstree Studios, and the director of Great Catherine. O'Mara continued to make television appearances throughout the 1990s, including Cluedo (1990), and playing Jackie Stone (Patsy's older sister) in two episodes of Absolutely Fabulous (1995-2003). In 2001, she had a recurring role in the ITV prison drama series Bad Girls before appearing in the short-lived revival of the soap opera Crossroads. She continued to perform on stage and in March 2008 she played Marlene Dietrich in a stage play entitled Lunch with Marlene. From August to November 2008, she played Mrs Cheveley in Oscar Wilde's stage play An Ideal Husband directed by Peter Hall and produced by Bill Kenwright. She performed in radio and audio plays. In 2000 she reprised her role as the Rani in the BBV audio play The Rani Reaps the Whirlwind, and in 2006 she made a guest appearance in the radio comedy series Nebulous. In 2012, O'mara appeared in a theater adaptation of Agatha Christie's Death on the Nile. She became a vegetarian and animal rights activist.

Answer this question "anything else people should know about kate"
output: She performed in radio and audio plays.

Problem: Background: Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released in mid 1966, on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album--"One of Us Must Know (
Context: Most accounts of recording Blonde on Blonde, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14-17 and March 8-10, 1966. This chronology is based on the logs and files kept by Columbia Records. Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of "Absolutely Sweet Marie" that Dylan selected for the album. Historian Sean Wilentz observed that "with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar". According to Wilentz the final recording session, on March 9-10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was "Most Likely You Go Your Way and I'll Go Mine", when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded "Temporary Like Achilles". The session atmosphere began to "get giddy" around midnight when Dylan roughed out "Rainy Day Women #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song. In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. The session concluded with "I Want You" on which, as Wilentz notes, "Wayne Moss's rapid-fire sixteenth notes on the guitar" are an impressive element of the recording.
Question: Did they remove the baffles?
Answer:

Question: Jeanette Anna MacDonald (June 18, 1903 - January 14, 1965) was an American singer and actress best remembered for her musical films of the 1930s with Maurice Chevalier (The Love Parade, Love Me Tonight, The Merry Widow and One Hour With You) and Nelson Eddy (Naughty Marietta, Rose-Marie, and Maytime). During the 1930s and 1940s she starred in 29 feature films, four nominated for Best Picture Oscars (

Unlike Nelson Eddy, who came from opera to film, MacDonald in the 1940s yearned to reinvent herself in opera. She began training for this goal with Lotte Lehmann, one of the leading opera stars of the early 20th century. "When Jeanette MacDonald approached me for coaching lessons", wrote Lehmann, "I was really curious how a glamorous movie star, certainly spoiled by the adoration of a limitless world, would be able to devote herself to another, a higher level of art. I had the surprise of my life. There couldn't have been a more diligent, a more serious, a more pliable person than Jeanette. The lessons which I had started with a kind of suspicious curiosity, turned out to be sheer delight for me. She studied Marguerite with me--and lieder. These were the ones which astounded me most. I am quite sure that Jeanette would have developed into a serious and successful lieder singer if time would have allowed it." MacDonald made her opera debut singing Juliette in Gounod's Romeo et Juliette in Montreal at His Majesty's Theatre (May 8 and 10, 1943). She quickly repeated the role in Quebec City (May 12), Ottawa, and Toronto. Her U.S. debut with the Chicago Opera Company (November 4, 11 and 15, 1944) was in the same role. She also sang Marguerite in Gounod's Faust with the Chicago Opera. In November 1945, she did two more performances of Romeo et Juliette and one of Faust in Chicago, and two Fausts for the Cincinnati Opera. On December 12, 1951, she did one performance of Faust with the Philadelphia Civic Grand Opera Company at the Academy of Music. Claudia Cassidy, the music critic of the Chicago Tribune wrote: "Her Juliet is breathtakingly beautiful to the eye and dulcet to the ear." The same critic reviewed Faust: "From where I sit at the opera, Jeanette MacDonald has turned out to be one of the welcome surprises of the season... her Marguerite was better than her Juliet...beautifully sung with purity of line and tone, a good trill, and a Gallic inflection that understood Gounod's phrasing....You felt if Faust must sell his soul to the devil, at least this time he got his money's worth."

Using a quote from the above article, answer the following question: What other operas did she sing?
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Answer:
On December 12, 1951, she did one performance of Faust with the Philadelphia Civic Grand Opera Company at the Academy of Music.