Q: The answer to the question: What work's entrance chorus fit the situation almost exactly? is inside the article: "Climbing over rocky mountain" is the best known piece from Thespis, as it was transplanted in 1879 into one of Gilbert and Sullivan's most successful operas, The Pirates of Penzance. In 1902, Gilbert told a correspondent that this had happened accidentally. He and Sullivan had arrived in New York to produce the new opera, but the composer discovered that he had left his sketches behind in England. Fortunately, the entrance chorus from Thespis fitted the situation almost exactly, so it was substituted instead.Several scholars have doubted that explanation. In Sullivan's autograph score for the later work, the first part of "Climbing over rocky mountain" is actually taken from a Thespis copyist score, with the Thespis words cancelled and the new words written in, which raises the question of why Sullivan had a Thespis score to hand, if not for that purpose.Some suggest that other music from Thespis could have been used in Pirates. Goldberg suggests that "It is reasonable to believe that Sullivan made generous use of his Thespis music in other operettas: perhaps owing to the circumstances under which The Pirates of Penzance was written, it contains more than one unacknowledged borrowing from the unlucky firstling of the lucky pair." Reginald Allen says that "it seems certain" from its "rhythmic structure" that part of the Act I finale of Thespis, "Here's a pretty tale for future Iliads and Odysseys" became the original Act II finale in Pirates, "At length we are provided with unusual felicity", which was later deleted. Tillett and Spencer propose that most of Act I of Pirates was taken from Thespis. However, there is only circumstantial evidence for these suggestions. Except for "Climbing over rocky mountain", neither author admitted to borrowing from Thespis for later works., can you guess it ?
A: "Climbing over rocky mountain"

Q: The answer to the question: What locations did Moore visit in 1934? is inside the article: In 1932, after six year's teaching at the Royal College, Moore took up a post as the Head of the Department of Sculpture at the Chelsea School of Art. Artistically, Moore, Hepworth and other members of The Seven and Five Society would develop steadily more abstract work, partly influenced by their frequent trips to Paris and their contact with leading progressive artists, notably Pablo Picasso, Georges Braque, Jean Arp and Alberto Giacometti. Moore flirted with Surrealism, joining Paul Nash's modern art movement "Unit One", in 1933. In 1934, Moore visited Spain; he visited the cave of Altamira (which he described as the "Royal Academy of Cave Painting"), Madrid, Toledo and Pamplona.Moore and Nash were on the organising committee of the International Surrealist Exhibition, which took place in London in 1936. In 1937, Roland Penrose purchased an abstract 'Mother and Child' in stone from Moore that he displayed in the front garden of his house in Hampstead. The work proved controversial with other residents and the local press ran a campaign against the piece over the next two years. At this time Moore gradually transitioned from direct carving to casting in bronze, modelling preliminary maquettes in clay or plaster rather than making preparatory drawings. In 1938, Moore met Kenneth Clark for the first time. From this time, Clark became an unlikely but influential champion of Moore's work, and through his position as member of the Arts Council of Great Britain he secured exhibitions and commissions for the artist., can you guess it ?
A: Madrid

Q: The answer to the question: What is the first name of the person whose solo work was praised by the Beatles producer? is inside the article: Jimmy Carter said, "in many countries around the world my wife and I have visited about 125 countries you hear John Lennon's song 'Imagine' used almost equally with national anthems." On 9 October 2010, which would have been Lennon's 70th birthday, the Liverpool Singing Choir performed "Imagine" along with other Lennon songs at the unveiling of the John Lennon Peace Monument in Chavasse Park, Liverpool, England. Beatles producer George Martin praised Lennon's solo work, singling out the composition: "My favourite song of all was 'Imagine'". Music critic Paul Du Noyer described "Imagine" as Lennon's "most revered" post-Beatles song. Authors Ben Urish and Ken Bielen called it "the most subversive pop song recorded to achieve classic status". Fricke commented: "'Imagine' is a subtly contentious song, Lennon's greatest combined achievement as a balladeer and agitator."Urish and Bielen criticised the song's instrumental music as overly sentimental and melodramatic, comparing it to the music of the pre-rock era and describing the vocal melody as understated. According to Blaney, Lennon's lyrics describe hypothetical possibilities that offer no practical solutions; lyrics that are at times nebulous and contradictory, asking the listener to abandon political systems while encouraging one similar to communism. Author Chris Ingham indicated the hypocrisy in Lennon, the millionaire rock star living in a mansion, encouraging listeners to imagine living their lives without possessions. Others argue that Lennon intended the song's lyrics to inspire listeners to imagine if the world could live without possessions, not as an explicit call to give them up. Blaney commented: "Lennon knew he had nothing concrete to offer, so instead he offers a dream, a concept to be built upon."Blaney considered the song to be "riddled with contradictions. Its hymn-like setting sits uncomfortably alongside its author's plea for us to envision a world without religion." Urish and Bielen described Lennon's "dream world" without a heaven or..., can you guess it ?
A:
John