Problem: What is the answer for the question: What is the name of the person who tried to save the woman on the camel? from the following article ? Cliff Richard stars as Jonnie, who works as a waiter on a traveling ferry with his bandmates (The Shadows) and his fellow waiter friends. Through a pyrotechnics accident, the power cuts on the ferry and the group are fired on the spot, stranded on a tiny boat with nothing but their instruments. They float around in the Mediterranean until they reach the Canary Islands, where they spot a young woman wearing tartan clothing, and they try to follow her, accidentally confusing her with a Scottish man wearing a kilt. The group ends up in a sand dune, miserable and confused, wondering what to do next. They are briefly confused by a mirage of a ferry but then decide to set off again in the direction they were originally heading. Jonnie spots a figure on an out-of-control camel and rushes to save her, but discovers that he had accidentally ruined a scene being filmed for a movie. Despite the disruption, Lloyd Davis the director offers him a job as a stunt double and gives the rest of Jonnie's group jobs as runners. Later that evening, Jonnie spots a blonde woman sitting at his opposite table reading from a script. Her name is Jenny and she explains that she was the woman in tartan that he and his group had met earlier, as well as the woman that he tried to "save" on the camel, wearing a dark wig to portray the daughter of a sultan. She is very nervous because she doesn't believe that she is a good enough actress to be the leading lady but Jonnie tells her to ignore the cameras and the crew watching her, and imagine that she isn't acting, as if she really was a princess. However, the advice does not help her and she continues to irritate Lloyd, who rants behind the scenes to the leading man about his regret of hiring her.

A: Jonnie
Problem: Given the question: What is the answer for the question: What was the full name of the person who helped Liszt shape his ideas? from the following article ? Liszt provided written prefaces for nine of his symphonic poems. His doing so, Alan Walker states, "was a reflection of the historical position in which he found himself." Liszt was aware these musical works would be experienced not just by select connoisseurs, as might have been the case in previous generations, but also by the general public. In addition, he knew about the public's fondness for attaching stories to instrumental music, regardless of their source, their relevance to a musical composition or whether the composer had actually sanctioned them. Therefore, in a pre-emptive gesture, Liszt provided context before others could invent one to take its place. Liszt may have also felt that since many of these works were written in new forms, some sort of verbal or written explanation would be welcome to explain their shape.These prefaces have proven atypical in a couple of ways. For one, they do not spell out a specific, step-by-step scenario that the music would follow but rather a general context. Some of them, in fact, are little more than autobiographical asides on what inspired Liszt to compose a piece or what feelings he was trying to inspire through it. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music. This was the complete opposite of other composers, who wrote their music to fit a pre-existing program. For both these reasons, Walker suggests, Liszt's prefaces could be called "programmes about music" with equal logic or validity. He adds that the prefaces might not have entirely been of Liszt's idea or doing, since evidence exists that his then-companion Princess Carolyne zu Sayn-Wittgenstein helped shape or create them.Overall, Walker concludes, "Posterity may have overestimated the importance of extra-musical thought...
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The answer is:
Princess Carolyne zu Sayn-Wittgenstein
[Q]: What is the answer for the question: What is the name of the person who astonished everyone by playing on sight, flawlessly, one of the maestro's most difficult pieces? from the following article ? Back in Paris with two years of his grant remaining, Bizet was temporarily secure financially and could ignore for the moment the difficulties that other young composers faced in the city. The two state-subsidised opera houses, the Opera and the Opera-Comique, each presented traditional repertoires that tended to stifle and frustrate new homegrown talent; only eight of the 54 Prix de Rome laureates between 1830 and 1860 had had works staged at the Opera. Although French composers were better represented at the Opera-Comique, the style and character of productions had remained largely unchanged since the 1830s. A number of smaller theatres catered for operetta, a field in which Offenbach was then paramount, while the Theatre Italien specialised in second-rate Italian opera. The best prospect for aspirant opera composers was the Theatre Lyrique company which, despite repeated financial crises, operated intermittently in various premises under its resourceful manager Leon Carvalho. This company had staged the first performances of Gounod's Faust and his Romeo et Juliette, and of a shortened version of Berlioz's Les Troyens.On 13 March 1861, Bizet attended the Paris premiere of Wagner's opera Tannhauser, a performance greeted by audience riots that were stage-managed by the influential Jockey-Club de Paris. Despite this distraction, Bizet revised his opinions of Wagner's music, which he had previously dismissed as merely eccentric. He now declared Wagner "above and beyond all living composers". Thereafter, accusations of "Wagnerism" were often laid against Bizet, throughout his compositional career.As a pianist, Bizet had showed considerable skill from his earliest years. A contemporary asserted that he could have assured a future on the concert platform, but chose to conceal his talent "as though it were a vice". In May 1861 Bizet gave a rare demonstration of his virtuoso skills when, at a dinner party at which Liszt was present, he astonished everyone by playing on sight, flawlessly, one of the maestro's most...
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[A]:
Bizet