Problem: Read the following paragraph and extract the answer for the question: What is the name of the person that Addison and Little suggest that he guided fishing tours? In October, MacDonald introduced Thomson to Dr. James MacCallum. A frequent visitor to the Ontario Society of Artists' (OSA) exhibitions, MacCallum was admitted to the Arts and Letters Club in January 1912. There, he met artists such as John William Beatty, Arthur Heming, MacDonald and Harris. MacCallum eventually persuaded Thomson to leave Rous and Mann and start a painting career. In October 1913, MacCallum introduced Thomson to A. Y. Jackson, later a founder of the Group of Seven. MacCallum recognized Thomson's and Jackson's talents and offered to cover their expenses for one year if they committed themselves to painting full time. MacCallum and Jackson both encouraged Thomson to "take up painting seriously, [but] he showed no enthusiasm. The chances of earning a livelihood by it did not appear to him promising. He was sensitive and independent, and feared he might become an object of patronage." MacCallum wrote that when he first saw Thomson's sketches, he recognized their "truthfulness, their feeling and their sympathy with the grim fascinating northland ... they made me feel that the North had gripped Thomson as it had gripped me since I was eleven when I first sailed and paddled through its silent places." He described Thomson's paintings as "dark, muddy in colour, tight and not wanting in technical defects". After Thomson's death, MacCallum helped preserve and advocate for his work.Thomson accepted MacCallum's offer under the same terms offered to Jackson. He travelled around Ontario with his colleagues, especially to the wilderness of Ontario, which was to become a major source of inspiration. Regarding Algonquin Park, he wrote in a letter to MacCallum: "The best I can do does not do the place much justice in the way of beauty." He ventured to rural areas near Toronto and tried to capture the surrounding nature. He may have worked as a fire ranger on the Mattagami reserve. Addison and Little suggest that he guided fishing tours, although Hill finds this unlikely since Thomson had only spent a few...

A: Thomson
Problem: Given the question: Read the following paragraph and extract the answer for the question: Who had not heard a single Symphony or Overture in one concert since June? On Bennett's return to London he took up a teaching post at the RAM which he held until 1858. During his second long stay in Germany, from October 1838 to March 1839, he played his Fourth Piano Concerto (Op. 19, in F minor) and the Wood Nymphs Overture, Op. 20. Returning to England, he wrote to his Leipzig publisher Friedrich Kistner in 1840, bemoaning the difference between England and Germany (and hoping that a German would redress the situation): You know what a dreadful place England is for music; and in London I have nobody who I can talk to about such things, all the people are mad with [Sigismond] Thalberg and [Johann] Strauss [I], and I have not heard a single Symphony or Overture in one concert since last June. I sincerely hope that Prince Albert ... will do something to improve our taste. On Bennett's third trip, from January to March 1842, in which he also visited Kassel, Dresden and Berlin, he played his Caprice for piano and orchestra, Op. 22, in Leipzig. Despite his then-pessimistic view of music in England, Bennett missed his chance to establish himself in Germany. The musicologist Nicholas Temperley writes One might guess that the early loss of both parents produced in Bennett an exceptionally intense need for reassurance and encouragement. England could not provide this for a native composer in his time. He found it temporarily in German musical circles; yet, when the opportunity came to claim his earned place as a leader in German music, he was not quite bold enough to grasp it.
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The answer is:
Bennett
[Q]: Read the following paragraph and extract the answer for the question: What is the name of the person that claimed that the staging is definitive and sacrosanct? The 1951 Festival production, by Siegfried's and Winifred's son Wieland, broke with tradition and featured an austere staging which replaced scenery and props with skilful lighting effects. The Rhinemaidens, along with all the other characters, were plainly dressed in simple robes, and sang their roles without histrionics. Thus the music and the words became the main focus of attention. Wieland was influenced by Adolphe Appia, whose Notes sur l'Anneau du Nibelungen (192425) had been dismissed by Cosima: "Appia seems to be unaware that the Ring was performed here in 1876. It follows that the staging is definitive and sacrosanct." However, Wieland and his brother Wolfgang praised Appia: "... the stylised stage, inspired by the music and the realisation of three-dimensional space constitute the initial impulses for a reform of operatic stagings which led quite logically to the 'New Bayreuth' style."The innovative centenary Bayreuth Ring, directed by Patrice Chereau, did away altogether with the underwater concept by setting the Rhinemaiden scenes in the lee of a large hydro-electric dam, as part of a 19th-century Industrial Revolution setting for the operas. For the scene with Siegfried in Gotterdammerung, Chereau altered the perpetual youth aspect of the Rhine Maidens by depicting them as "no longer young girls merrily disporting themselves; they have become tired, grey, careworn, and ungainly". Since this production "the assumption of unrestricted interpretive license has become the norm". For example, Nikolaus Lehnhoff, in his 1987 Bayerische Staatsoper production, placed the Rhinemaidens in a salon and had their lament at the end of Rheingold played on a gramophone by Loge.
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[A]:
Cosima