input question: Given the below context: Tchaikovsky remained abroad for a year after the disintegration of his marriage. During this time, he completed Eugene Onegin, orchestrated his Fourth Symphony, and composed the Violin Concerto. He returned briefly to the Moscow Conservatory in the autumn of 1879. For the next few years, assured of a regular income from von Meck, he traveled incessantly throughout Europe and rural Russia, mainly alone, and avoided social contact whenever possible. During this time, Tchaikovsky's foreign reputation grew and a positive reassessment of his music also took place in Russia, thanks in part to Russian novelist Fyodor Dostoyevsky's call for "universal unity" with the West at the unveiling of the Pushkin Monument in Moscow in 1880. Before Dostoyevsky's speech, Tchaikovsky's music had been considered "overly dependent on the West". As Dostoyevsky's message spread throughout Russia, this stigma toward Tchaikovsky's music evaporated. An unprecedented acclaim for him even drew a cult following among the young intelligentsia of Saint Petersburg, including Alexandre Benois, Leon Bakst and Sergei Diaghilev.Two musical works from this period stand out. With the Cathedral of Christ the Saviour nearing completion in Moscow in 1880, the 25th anniversary of the coronation of Alexander II in 1881, and the 1882 Moscow Arts and Industry Exhibition in the planning stage, Nikolai Rubinstein suggested that Tchaikovsky compose a grand commemorative piece. Tchaikovsky agreed and finished it within six weeks. He wrote to Nadezhda von Meck that this piece, the 1812 Overture, would be "very loud and noisy, but I wrote it with no warm feeling of love, and therefore there will probably be no artistic merits in it". He also warned conductor Eduard Napravnik that "I shan't be at all surprised and offended if you find that it is in a style unsuitable for symphony concerts". Nevertheless, the overture became, for many, "the piece by Tchaikovsky they know best"., particularly well-known for the use of cannon in the scores.On 23 March 1881, Nikolai... Guess a valid title for it!???
output answer: Pyotr Ilyich Tchaikovsky

input question: Given the below context: Lancaster's career designing for the theatre began and ended with Gilbert and Sullivan. His first costumes and scenery were for the Sadler's Wells Ballet's Pineapple Poll (1951), John Cranko's ballet with a story based on a Gilbert poem and music by Sullivan. His last were for the D'Oyly Carte Opera Company's revival of The Sorcerer (1973). In between, he designed more productions for the Royal Ballet, as well as for Glyndebourne Festival Opera, the Old Vic and the West End. It was a matter of mild regret to him that of the twenty plays, operas and ballets that he designed between the two, only one was for a thoroughly serious piece, Britten's Peter Grimes, for the Bulgarian National Opera in Sofia in 1964.Only two of Lancaster's theatre designs have remained in use in 21st-century productions, both by the Royal Ballet: Pineapple Poll and La fille mal gardee. In an article on the latter in 2016, Danielle Buckley wrote, "Lancaster's surrealist and stylized designs for Fille amplify the story's pantomime quality, and the exaggerated burlesque of its comedy but the backdrops of fields that roll into the distance, bundles of hay, dreamy skies and village cottages provide the idealized, pastoral context that the story needs". Buckley adds that Lancaster's designs have been criticised for locating the ballet in no particular time or place "except, that is, of a 1960s London view of idyllic country life".Lancaster's stated view was that stage sets and costumes should reflect reality, but "through a lens, magnifying and slightly over-emphasising everything which it reflects". Sir Geraint Evans commented on how Lancaster's designs helped the performer: "[His] design for Falstaff was superb: it gave me clues to understanding the character, and reflected that marvellous, subtle sense of humour which was present in all his work." Guess a valid title for it!???
output answer: Osbert Lancaster

input question: Given the below context: In London, Professor Henry Higgins, a scholar of phonetics, believes that the accent and tone of one's voice determines a person's prospects in society ("Why Can't the English?"). At Covent Garden one evening, he meets Colonel Hugh Pickering, himself a phonetics expert who had come all the way from India to see him. Higgins boasts he could teach anyone to speak so well he could pass them off as a duke or duchess at an embassy ball, even the young woman with a strong Cockney accent named Eliza Doolittle who tries to sell them flowers. Eliza's ambition is to work in a flower shop, but her accent makes that impossible ("Wouldn't It Be Loverly"). The following morning, Eliza shows up at Higgins' home, seeking lessons. Pickering is intrigued and offers to cover all the attendant expenses if Higgins succeeds. Higgins agrees, and describes how women ruin lives ("I'm an Ordinary Man"). Eliza's father, Alfred P. Doolittle, a dustman, learns of his daughter's new residence ("With a Little Bit of Luck"). He shows up at Higgins' house three days later, ostensibly to protect his daughter's virtue, but in reality simply to extract some money from Higgins, and is bought off with 5. Higgins is impressed by the man's honesty, his natural gift for language, and especially his brazen lack of morals. Higgins recommends Alfred to a wealthy American who is interested in morality. Eliza endures Higgins' demanding teaching methods and treatment of her personally ("Just You Wait"). She makes little progress, but just as she, Higgins, and Pickering are about to give up, Eliza finally "gets it" ("The Rain in Spain"); she instantly begins to speak with an impeccable upper class accent ("I Could Have Danced All Night"). Guess a valid title for it!???
output answer:
My Fair Lady (film)