Q: What is the last name of the person who was able to secure occasional commissions to compose theatrical works for the Gonzaga court? Answer the above question based on the context below: (English: "The Marriage of Thetis") After Duke Vincenzo's death in February 1612, Monteverdi found himself out of favour at the Mantuan court. Vincenzo's successor Francesco had no high regard for Monteverdi, and dismissed him from his post. Upon Francesco's sudden death in December 1612, the dukedom passed to his brother Ferdinando, but Monteverdi was not recalled to the court and was appointed maestro di capella in August 1613 at St Mark's, Venice. However, he remained in contact with Striggio and other highly placed Gonzaga courtiers, through whom he was able to secure occasional commissions to compose theatrical works for the Gonzaga court. Thus, late in 1616, Striggio asked him to set to music Scipione Agnelli's libretto Le nozze di Tetide, as part of the celebrations for Duke Ferdinando's forthcoming marriage to Catherine de' Medici. This story, based on the wedding of the mythical Greek hero Peleus to the sea-goddess Thetis, had previously been offered to the Mantuan court by Peri, whose setting of a libretto by Francesco Cini had been rejected in 1608 in favour of L'Arianna.Initially, Monteverdi had little enthusiasm for Le nozze di Tetide, and sought ways of avoiding or delaying work on it. He would accept the commission, he informed Striggio on 9 December 1616, because it was the wish of the duke, his feudal lord. However, the verses he was given were not, he felt, conducive to beautiful music. He found the tale difficult to understand, and did not think he could be inspired by it. In any event he was occupied for most of December in writing a Christmas Eve mass for St Mark's. On 29 December, perhaps hoping that the commission would be withdrawn, Monteverdi told Striggio that he was ready to begin work on Le Nozze di Tetide "if you tell me to do so". In January 1617, however, he became more enthusiastic on learning that the project had been scaled down and was now being projected as a series of intermedi. He informed Striggio that what he had first considered a rather monotonous piece he now thought...
A: Monteverdi
Question: What were the full names of the two people who were suspected of having a love affair during months of rehearsal? Answer the above question based on the context below: The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured Zulma Bouffar, who was perhaps the librettists' preferred choice. She had sung leading roles in many of Offenbach's operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to Marie Roze, well known for previous triumphs at the Opera-Comique, the Opera and in London. She refused the part when she learned that she would be required to die on stage. The role was then offered to Celestine Galli-Marie, who agreed to terms with du Locle after several months' negotiation. Galli-Marie, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal.The leading tenor part of Don Jose was given to Paul Lherie, a rising star of the Opera-Comique who had recently appeared in works by Massenet and Delibes. He would later become a baritone, and in 1887 sang the role of Zurga in the Covent Garden premiere of Les pecheurs de perles. Jacques Bouhy, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Mephistopheles in Gounod's Faust and as Mozart's Figaro. Marguerite Chapuy, who sang Micaela, was at the beginning of a short career in which she was briefly a star at London's Theatre Royal, Drury Lane; the impresario James H. Mapleson thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return.
Answer: Celestine Galli-Marie
[Q]: What animals' flocks make a quiet chattering sound while at rest? Answer the above question based on the context below: The territorial call of the Australian raven is a slow, high ah-ah-aaaah with the last note drawn out. It uses this call to communicate with other Australian ravens in the area. When giving this call, the species has a horizontal posture, holding its head forward and body parallel to the ground, while perched on a prominent position. It ruffles its hackles and lowers its tail, and sometimes holds its beak open between calls. In contrast, the little raven and forest raven hold their bodies in an upright posture. This call becomes louder if trespassers encroach upon the Australian raven's territory. The five Australian species are very difficult to tell apart, with the call being the easiest way to do so, although the drawing-out of the final notelong held to be solely recorded for the Australian ravenhas been recorded for the other species and is hence not diagnostic.The volume, pitch, tempo and order of notes can be changed depending on the message the Australian raven intends to convey. There is a variety of contact calls: a pair often makes a low murmuring sound when preening each other while roosting, and members of a flock carry on with a quiet chattering while at rest. Birds make a call and answer sequence if temporarily out of sight of one another while foraging. Birds in flocks make a single high-pitched caa while flying over another territory as a transit call to signify they are just passing through. An Australian raven will give a longer caa with a downward inflection to signify its return to the nest to its mate.
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[A]: Australian raven
Question: What is the first name of the person who was asked if he still hunts? Answer the above question based on the context below: A series of murders of rich young women throughout the area of Globe, Arizona bear the distinctive signature of a serial killer. Clues lead Detective Charles Mendoza to visit Paul White, a sound expert installing hi-fi systems in wealthy people's homes. His special talent is to make a noise which echoes through the air cavities in his head and shows him where the sound of the speakers should come from and echo in the room. He is married to Joan, whom, ten years earlier, he had seduced away from Mike DeSantos, who was her then boyfriend. Joan and Paul have a daughter, Danielle, together. Paul, installing equipment at Dr. Sutter's home, proximal to the most-recent murder, is approached by Detective Mendoza-- they have a cordial conversation about sound equipment, but it turns abruptly, when Mendoza asks Paul if he still hunts. Mendoza questions Paul about whether he knew the victim, and then asks him about the tires on his van-- a tread pattern that has been located at the scene of the murder. Mendoza meets with his partner Phil at the police station, where Phil has gathered criminal record information on Paul-- they speculate on what kind of person he might be based on that information. Mendoza, working from photos of the crime scene, begins to identify some aspects of the killer's M/O. Paul visits Fred, proprietor of the local diner-- Fred mentions that Ann Mason has been asking after Paul, ostensibly to work on her satellite system.
Answer:
Paul