[Q]: Given the below context: On 18 February 1914 The Rite received its first concert performance (the music without the ballet), in St Petersburg under Serge Koussevitzky. On 5 April that year, Stravinsky experienced for himself the popular success of The Rite as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers. The Rite had its first British concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when Stokowski included it in a Philadelphia Orchestra programme. Goossens was also responsible for introducing The Rite to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the Sydney Symphony Orchestra.Stravinsky first conducted the work in 1926, in a concert given by the Concertgebouw Orchestra in Amsterdam; two years later he brought it to the Salle Pleyel in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it". Commentators have broadly agreed that the work has had a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind. The work has become a staple in the repertoires of all the leading orchestras, and has been cited by Leonard Bernstein as "the most important piece of music of the 20th century".In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's Royal Albert Hall. According to Isaiah Berlin, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of Mozart's opera The Marriage of Figaro, at Covent... Guess a valid title for it!
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[A]: The Rite of Spring

[Q]: Given the below context: Kurtwood Smith plays Myron Castleman, an everyman stuck in a loop that forces him to constantly relive the same hour of his life over and over, being the only person aware of this. During one loop, he discovers that a scientist named Nathan Rosenbluth has predicted an event that matches his experience. Castleman calls him and explains what is going on, however, Rosenbluth is highly skeptical of his claims. Over the next loops, Myron struggles to get into contact with Rosenbluth again, and in the process becomes frustrated to the point of screaming at his secretary and throwing his suitcase into traffic. Eventually, he does manage to talk to Rosenbluth, who initially dismisses Myron as crazy until Myron describes the transition as the scientist had predicted (including the phrase "Consciousness is an independent variable," which is central to Rosenbluth's theories). The professor sadly informs Castleman that there is nothing that can be done, causing Myron to become hysterical and shoot himself. There is a brief pause until Myron finds himself back at the beginning of the loop, realizing that he is trapped for eternity. Guess a valid title for it!
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[A]: 12:01 PM (1990 film)

[Q]: Given the below context: The premiere, originally planned for 14 September 1863, was postponed to the 30th because of the illness of the soprano lead, Leontine de Maesen. The first-night audience at the Theatre Lyrique received the work well, and called for Bizet at the conclusion. The writer Louis Gallet, who later would provide several librettos for Bizet, described the composer on this occasion as "a little dazed ... a forest of thick curly hair above a round, still rather childish face, enlivened by the quick brown eyes..." The audience's appreciation was not reflected in the majority of the press reviews, which generally castigated both the work and what they considered Bizet's lack of modesty in appearing on stage. Gustave Bertrand in Le Menestrel wrote that "this sort of exhibition is admissible only for a most extraordinary success, and even then we prefer to have the composer dragged on in spite of himself, or at least pretending to be". Another critic surmised that the calls for the composer had been orchestrated by a "claque" of Bizet's friends, strategically distributed.Of the opera itself, Benjamin Jouvin of Le Figaro wrote: "There were neither fishermen in the libretto nor pearls in the music". He considered that on every page the score displayed "the bias of the school to which [Bizet] belongs, that of Richard Wagner". Bertrand compared the work unfavourably with those of contemporary French composers such as Charles Gounod and Felicien David. "Nevertheless", he wrote, "there is a talent floating in the midst of all these regrettable imitations". Hector Berlioz was a voice apart in the general critical hostility; his review of the work in Journal des Debats praised the music's originality and subtlety: "The score of Les pecheurs de perles does M. Bizet the greatest honour", he wrote. Among Bizet's contemporaries, the dramatist Ludovic Halevy wrote that this early work announced Bizet as a composer of quality: "I persist in finding in [the score] the rarest virtues". The youthful composer Emile Paladilhe told his father... Guess a valid title for it!
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[A]: Les pecheurs de perles

[Q]: Given the below context: In February 2011, Gaga released "Born This Way", the lead single from her studio album of the same name. The song sold more than one million copies within five days, earning the Guinness World Record for the fastest selling single on iTunes. It debuted atop the Billboard Hot 100, becoming the 1,000th number-one single in the history of the charts. Its second single "Judas" followed two months later, and "The Edge of Glory" served as its third single. Both reached the top 10 in the US and the UK. Her music video for "The Edge of Glory", unlike her previous work, portrays her dancing on a fire escape and walking on a lonely street, without intricate choreography and back-up dancers. Gaga hosted an episode of Saturday Night Live in November 2013, performing "Do What U Want" (with Kelly) and an album cut, "Gypsy". After holding her second Thanksgiving Day television special on ABC, Lady Gaga and the Muppets Holiday Spectacular, she performed a special rendition of "Do What U Want" with Christina Aguilera on the fifth season of the American reality talent show The Voice. In March 2014, Gaga had a seven-day concert residency commemorating the last performance at New York's Roseland Ballroom before its closure. Two months later, she embarked on the ArtRave: The Artpop Ball tour, building on concepts from her ArtRave promotional event. Earning $83 million, the tour included cities canceled from the Born This Way Ball tour itinerary. In the meantime, Gaga split from longtime manager Troy Carter over "creative differences", and by June 2014, she and new manager Bobby Campbell joined Artist Nation, the artist management division of Live Nation Entertainment. She briefly appeared in Rodriguez's Sin City: A Dame to Kill For, and was confirmed as Versace's spring-summer 2014 face with a campaign called "Lady Gaga For Versace".In September 2014, Gaga released a collaborative jazz album with Tony Bennett titled Cheek to Cheek. The inspiration behind the album came from her friendship with Bennett, and fascination with jazz... Guess a valid title for it!
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[A]:
Lady Gaga