Question: The following article contains an answer for the question: What was the full name of the person that had their car vandalised? , can you please find it? Like his predecessor Rafael Kubelik, and his successor Colin Davis, Solti found his early days as musical director marred by vituperative hostility from a small clique in the Covent Garden audience. Rotten vegetables were thrown at him, and his car was vandalised outside the theatre, with the words "Solti must go!" scratched on its paintwork. Some press reviews were strongly critical; Solti was so wounded by a review in The Times of his conducting of The Marriage of Figaro that he almost left Covent Garden in despair. The chief executive of the Opera House, Sir David Webster, persuaded him to stay with the company, and matters improved, helped by changes on which Solti insisted. The chorus and orchestra were strengthened, and in the interests of musical and dramatic excellence, Solti secured the introduction of the stagione system of scheduling performances, rather than the traditional repertory system. By 1967 The Times commented that "Patrons of Covent Garden today automatically expect any new production, and indeed any revival, to be as strongly cast as anything at the Met in New York, and as carefully presented as anything in Milan or Vienna".The company's repertory in the 1960s combined the standard operatic works with less familiar pieces. Among the most celebrated productions during Solti's time in charge was Schoenberg's Moses and Aaron in the 196566 and 196667 seasons. In 1970, Solti led the company to Germany, where they gave Don Carlos, Falstaff and Victory, a new work by Richard Rodney Bennett. The public in Munich and Berlin were, according to the Frankfurter Allgemeine Zeitung, "beside themselves with enthusiasm".Solti's bald head and demanding rehearsal style earned him the nickname "The Screaming Skull". A music historian called him "the bustling, bruising Georg Solti a man whose entire physical and mental attitude embodied the words 'I'm in charge'." Singers such as Peter Glossop described him as a bully, and after working with Solti, Jon Vickers refused to do so again. Nevertheless,...
Answer: Georg Solti
[Q]: The following article contains an answer for the question: What branch of the military did the person who worked in the "gun cage" belong to? , can you please find it? Jim Street, a former U.S. Navy SEAL and hot-shot cop from the Los Angeles Police Department and his SWAT team are sent to stop a gang of robbers who have taken over a bank. His high-tempered partner and close friend Brian Gamble disobeys an order to hold their position and engages the bank robbers, accidentally wounding a hostage in the process. Gamble and Street are demoted by Captain Fuller, the commander of the LAPD Metropolitan Division. Gamble quits the force following an intense argument with Fuller, and Street is taken off the team and sent to work in the "gun cage", where he looks after the gear and weaponry. Fuller offers Street the chance to return to SWAT by selling Gamble out, but he refuses, though people refuse to trust him as his decision was never made public. Six months after the incident, the chief of police calls on Sergeant Daniel "Hondo" Harrelson, a former Marine Force Recon Sergeant who fought in Vietnam, to help re-organize the SWAT platoon. Hondo puts together a diverse team, including himself, Street, Christina Sanchez, Deacon Kaye, TJ McCabe, and Michael Boxer. The team members train together, eventually forging bonds of friendship. As a result, their first mission to subdue an unstable gunman is a success.
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[A]: U.S. Navy
input: Please answer the following: The following article contains an answer for the question: What is the full name of the doctor that commented on a symphony written by a man who based it on works of a 13th century poet? , can you please find it? Rachmaninoff's choral symphony The Bells reflected the four-part progression from youth to marriage, maturity, and death in Poe's poem. Britten reversed the pattern for his Spring Symphonythe four sections of the symphony represent, in its composer's words, "the progress of Winter to Spring and the reawakening of the earth and life which that means.... It is in the traditional four movement shape of a symphony, but with the movements divided into shorter sections bound together by a similar mood or point of view."The gestation of Shostakovich's Thirteenth Symphony, Babi Yar, was only slightly less straightforward. He set the poem Babi Yar by Yevgeny Yevtushenko almost immediately upon reading it, initially considering it a single-movement composition. Discovering three other Yevtushenko poems in the poet's collection Vzmakh ruki (A Wave of the Hand) prompted him to proceed to a full-length choral symphony, with "A Career" as the closing movement. Musicologist Francis Maes comments that Shostakovich did so by complementing Babi Yar's theme of Jewish suffering with Yevtushenko's verses about other Soviet abuses: "'At the Store' is a tribute to the women who have to stand in line for hours to buy the most basic foods,... 'Fears' evokes the terror under Stalin. 'A Career' is an attack on bureaucrats and a tribute to genuine creativity". Music historian Boris Schwarz adds that the poems, in the order Shostakovich places them, form a strongly dramatic opening movement, a scherzo, two slow movements and a finale.In other cases, the choice of text has led the composer to different symphonic structures. Havergal Brian allowed the form of his Fourth Symphony, subtitled "Das Siegeslied" (Psalm of Victory), to be dictated by the three-part structure of his text, Psalm 68; the setting of Verses 1318 for soprano solo and orchestra forms a quiet interlude between two wilder, highly chromatic martial ones set for massive choral and orchestral forces. Likewise, Szymanowski allowed the text by 13th-century Persian poet Rumi...
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output:
Jim Samson