In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[Q]: Passage: The panel has at various times been attributed to van der Goes and van Eyck, but was recognized as by Memling as early as the time of the seminal 1902 exhibition Exposition des primitifs flamands a Bruges in Bruges, when it was lent by Leopold Goldschmidt of Paris. In 1916 Max J. Friedlander described it as "without doubt" by Memling, and c. 1475. The art historian Catheline Perier-d'Ieteren, while noting that Memling's portrait faces were rarely underdrawn, wrote that this panel contains "thin yet confident incised lines" which may be preliminary drawings for Maria's face, perhaps made from life.
The triptych was recorded in an inventory of Tommaso's holdings upon his death. The New York panels passed through Tommaso's son Francesco. The central panel was described in his 1544 will as "a small tabernacle with three movable wings, in which is depicted the glorious Virgin Mary and the father and mother of the donor" (unum tabernaculettum que clauditur con tribus sportellis, in qua est depicta imago Gloriossime virginis Marie et patris et matris dicti testatoris). Francesco bequeathed the triptych to the convent of the hospital of Santa Maria Nuova in Florence. Records indicate a small intact winged altarpiece which stayed in the hospital's possession until around the time of the Napoleonic occupation, when it was probably broken up.Maria's panel was sold as a Dieric Bouts for 6,000 francs in 1870. It later passed through several private collections before arriving in the possession of Elia Volpi of Rome, who briefly returned it to Florence. Thereafter the panels were in London from 1901, from where they were sold to Villeroy Goldschmidt of Paris by for $426,500 in 1910. They were purchased, also in 1910, by the collector Benjamin Altman of New York on the advice of Max Friedlander, along with works by Albrecht Durer, Gerard David and Hans Holbein the Younger paintings whose "grave austerity seems to have been most in tune with his own taste". Altman bequeathed his holdings to the Metropolitan on his death in 1913.
Question: What was probably broken up around the time of the Napoleonic occupation?
[A]: winged altarpiece.

[Q]: Passage: Ferrier gave her first London recital on 28 December 1942 at the National Gallery, in a lunch-time concert organised by Dame Myra Hess. Although she wrote "went off very well" in her diary, Ferrier was disappointed with her performance, and concluded that she needed further voice training. She approached the distinguished baritone Roy Henderson with whom, a week previously, she had sung in Mendelssohn's Elijah. Henderson agreed to teach her, and was her regular voice coach for the remainder of her life. He later explained that her "warm and spacious tone" was in part due to the size of the cavity at the back of her throat: "one could have shot a fair-sized apple right to the back of the throat without obstruction". However, this natural physical advantage was not in itself enough to ensure the quality of her voice; this was due, Henderson says, to "her hard work, artistry, sincerity, personality and above all her character".
Ferrier's performances in the Glyndebourne run, which began on 12 July 1946, earned her favourable reviews, although the opera itself was less well received. On the provincial tour which followed the festival it failed to attract the public and incurred heavy financial losses.
By contrast, when the opera reached Amsterdam it was greeted warmly by the Dutch audiences who showed particular enthusiasm for Ferrier's performance. This was Ferrier's first trip abroad, and she wrote an excited letter to her family: "The cleanest houses and windows you ever did see, and flowers in the fields all the way!" Following her success as Lucretia she agreed to return to Glyndebourne in 1947, to sing Orfeo in Gluck's opera Orfeo ed Euridice. She had often sung Orfeo's aria Che faro ("What is life") as a concert piece, and had recently recorded it with Decca. At Glyndebourne, Ferrier's limited acting abilities caused some difficulties in her relationship with the conductor, Fritz Stiedry; nevertheless her performance on the first night, 19 June 1947, attracted warm critical praise.Ferrier's association with Glyndebourne bore further fruit when Rudolf Bing, the festival's general manager, recommended her to Bruno Walter as the contralto soloist in a performance of Mahler's symphonic song cycle Das Lied von der Erde. This was planned for the 1947 Edinburgh International Festival. Walter was initially wary of working with a relatively new singer, but after her audition his fears were allayed; "I recognised with delight that here potentially was one of the greatest singers of our time", he later wrote. Das Lied von der Erde was at that time largely unknown in Britain, and some critics found it unappealing; nevertheless, the Edinburgh Evening News thought it "simply superb". In a later biographical sketch of Ferrier, Lord Harewood described the partnership between Walter and her, which endured until the singer's final illness, as "a rare match of music, voice and temperament.".
Question: What is the last name of the person who sang with Roy in Mendelssohn's Elijah?
[A]: Ferrier.

[Q]: Passage: Aspiring filmmaker Sean is working as a freelance driver to make ends meet. He's assigned to deliver an expensive Mercedes-Benz from Los Angeles all the way to its owner in Miami, which will also allow him to attend the wedding of his sister. He's given strict instructions not to damage the vehicle or pick up any hitchhikers.
Sean is driving cross country when he picks up Nick, a hitchhiker who happens to be a vampire hunter hunting a group of vampires led by one of the Forsaken--a group of knights who made a pact with the fallen angel Abaddon to live forever. Two of the Forsaken are located in the United States (including the one Nick is tracking, Kit). Nick was bitten and infected by a vampire but, thanks to an antiviral drug cocktail, the vampire virus is kept at bay. Each of the Forsaken carry a unique strain of vampirism; killing a Forsaken kills his entire bloodline and reverses the condition of anyone infected. Nick believes that if he kills Kit, he will be cured before he turns (as the drug cocktail eventually will lose effect). At first Sean is less than willing to indulge his new acquaintance; however, he is convinced after the two come across a disoriented young woman, Megan, at a diner, who was bitten by the vampires and left for dead. Nick also proves he is telling the truth by killing a vampire, Teddy, with exposure to sunlight.
Sean and Nick take Megan to their motel room, but she goes into a rage and bites Sean; they realize they must kill the Forsaken responsible to prevent Sean from turning. Forsaken can only be slain on hallowed ground, so the three head for a Spanish mission 60 miles away. They stop at a gas station where an old woman, Ina, lets them in. She shows them a newspaper connecting Megan to a bloodbath in Arizona; when Megan wakes up and is coherent enough to talk, she explains she was a victim of the vampires' bloodbath. Kit catches up to them and lays siege to the gas station.
Question: Who does the hitchhiker kill to prove that vampires are real to the aspiring filmmaker?
[A]:
Teddy.