Q: The following article contains an answer for the question: What is the first name of the person who uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene? , can you please find it? The first recording of L'incoronazione, with Walter Goehr conducting the Tonhalle-Orchester Zurich in a live stage performance, was issued in 1954. This LP version, which won a Grand Prix du Disque in 1954, is the only recording of the opera that predates the revival of the piece that began with the 1962 Glyndebourne Festival production. In 1963 Herbert von Karajan and the Vienna Staatsoper issued a version described by Gramophone as "far from authentic", while the following year John Pritchard and the Royal Philharmonic Orchestra recorded an abridged version using Leppard's Glyndebourne orchestration. Leppard conducted a Sadler's Wells production, which was broadcast by the BBC and recorded on 27 November 1971. This is the only recording of the opera in English.Nikolaus Harnoncourt's 1974 version, the first recording without cuts, used period instruments in an effort to achieve a more authentic sound, although Denis Arnold has criticised Harnoncourt's "over-ornamentation" of the score, particularly his use of oboe and trumpet flourishes. Arnold showed more enthusiasm for Alan Curtis's 1980 recording, live from La Fenice in Venice. Curtis uses a small band of strings, recorders and continuo, with a trumpets reserved for the final coronation scene. Subsequent recordings have tended to follow the path of authenticity, with versions from baroque specialists including Richard Hickox and the City of London Baroque Sinfonia (1988), Rene Jacobs and Concerto Vocale (1990), and John Eliot Gardiner with the English Baroque Soloists. Sergio Vartolo's production of the opera at Pigna, Corsica, was recorded for Brilliant Classics in 2004. A feature of this recording is the casting of a soprano Nerone in acts I and III, and a tenor Nerone in act II, to allow for the differing vocal requirements of the role in these acts. Vartolo accepts that "a staged performance would almost certainly require a different approach".In more recent years, videotape and DVD versions have proliferated. The first was in 1979, a version directed...
A: Alan

Q: The following article contains an answer for the question: What is the first name of the person who could no longer afford the rent on the museum's premises when he retired in 2004? , can you please find it? The museum's founder Sigurur Hjartarson worked as a teacher and principal for 37 years, teaching history and Spanish at Reykjavik's Hamrahlid College for the last 26 years before his retirement. As a child, he owned a bull's pizzle, which was given to him to use as a cattle whip. He began collecting penises after a friend heard the story of the bull's penis in 1974 and gave him four new ones, three of which Sigurur gave to friends. Acquaintances at whaling stations began bringing him whale penises as well, and the collection grew from there, expanding through donations and acquisitions from various sources around Iceland.The organs of farm animals came from slaughterhouses, while fishermen supplied those of pinnipeds and the smaller whales. The penises of larger whales came from commercial whaling stations, although this source dried up after the International Whaling Commission implemented a global ban on commercial whaling in 1986. Sigurur was able to continue to collect whale penises by harvesting them from the 1216 whales that fall victim to stranding on the Icelandic coast each year. He also obtained the penis of a polar bear shot by fishermen who found the animal drifting on drift ice off the Westfjords.Sigurur was assisted by his family, though not without some occasional embarrassment. His daughter orgerur recalls that she was once sent to a slaughterhouse to collect a specimen but arrived just as the workers were taking a lunch break: "Someone asked, 'What's in the basket?' I had to say, 'I'm collecting a frozen goat penis.' After that I said, 'I will never collect for you again.'" According to Sigurur, "Collecting penises is like collecting anything. You can never stop, you can never catch up, you can always get a new one, a better one." The collection was at first housed in Sigurur's office at the college until he retired from his teaching job. He decided, more as a hobby than a job, to put it on public display in Reykjavik and was awarded a grant from the city council of ISK 200,000 to...
A: Sigurur

Q: The following article contains an answer for the question: What building has been called "a triumph of unified design? , can you please find it? The Monadnock was widely praised by early twentieth-century German architects, including Mies, who on his arrival in Chicago in 1938 declared that "The Monadnock block is of such vigor and force that I am at once proud and happy to make my home here." These European architects found the building's attention to purpose and functional expression inspiring. Bauhaus architect Ludwig Hilberseimer wrote that "The false solutionunfortunately too commonof applying meaningless and misplaced adornment is here instinctively avoided. An innate feeling for proportion gives this great building inner consistency and logical purity."Modern critics have praised the Monadnock as one of the most important exemplars of the Chicago school, along with Louis Sullivan's Carson, Pirie, Scott and Company Building. It has been called "a triumph of unified design" comparable to Henry Hobson Richardson's Marshall Field's Wholesale Store, and "one of the most exciting aesthetic experiences our commercial architecture has ever produced".The building was one of the first five selected by the Chicago Commission on Architectural Landmarks in 1958, "in recognition of its original design and its historical interest as the highest wall-bearing structure in Chicago". The commission went on to note that the "restrained use of brick, soaring massive walls, omission of ornamental forms, unite in a building simple yet majestic." In 1973, the Chicago City Council voted unanimously to designate the Monadnock a Chicago Landmark, stating that "The two halves of this building provide a unique perspective for examining the history and development of modern architecture. ... Together, they mark the end of one building tradition and the beginning of another." Critics of the Monadnock's landmark status objected that it would prevent the necessary demolition of the building, which was "an excellent example of a building that is ... no longer fulfilling the functions it was designed to fulfill" and "a wasting asset" that underperformed the market and was far...
A:
The Monadnock