input: Please answer the following: The following article contains an answer for the question: What is the last name of the composer whose lack of lighthearted works Harding found regrettable? , can you please find it? Discounting his collaboration with Dukas in the completion of Guiraud's unfinished Fredegonde, Saint-Saens wrote twelve operas, two of which are operas comiques. During the composer's lifetime his Henry VIII became a repertory piece; since his death only Samson et Dalila has been regularly staged, although according to Schonberg, Ascanio (1890) is considered by experts to be a much finer work. The critic Ronald Crichton writes that for all his experience and musical skill, Saint-Saens "lacked the 'nose' of the theatre animal granted, for example, to Massenet who in other forms of music was his inferior". In a 2005 study, the musical scholar Steven Huebner contrasts the two composers: "Saint-Saens obviously had no time for Massenet's histrionics". Saint-Saens's biographer James Harding comments that it is regrettable that the composer did not attempt more works of a light-hearted nature, on the lines of La princesse jaune, which Harding describes as like Sullivan "with a light French touch".Although most of Saint-Saens's operas have remained neglected, Crichton rates them as important in the history of French opera, as "a bridge between Meyerbeer and the serious French operas of the early 1890s". In his view, the operatic scores of Saint-Saens have, in general, the strengths and weaknesses of the rest of his music "lucid Mozartian transparency, greater care for form than for content ... There is a certain emotional dryness; invention is sometimes thin, but the workmanship is impeccable." Stylistically, Saint-Saens drew on a range of models. From Meyerbeer he drew the effective use of the chorus in the action of a piece; for Henry VIII he included Tudor music he had researched in London; in La princesse jaune he used an oriental pentatonic scale; from Wagner he derived the use of leitmotifs, which, like Massenet, he used sparingly. Huebner observes that Saint-Saens was more conventional than Massenet so far as through composition is concerned, more often favouring discrete arias and ensembles, with less...
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output: Saint-Saens

input: Please answer the following: The following article contains an answer for the question: What is the full name of the person who disapproves of Bud going to see Babe sing? , can you please find it? Bud Doyle is a jockey who has discovered the secret to get his favorite mount, Six-Shooter, to boost his performance. If he simply chants the phrase, "Whoop-te-doo", the horse responds with a burst of speed. There is a special bond between the jockey and his mount, but there is increasing tension between Doyle and the horse's owner, Pop Blake (who also raised Doyle), over Doyle's relationship with local singer Babe Ellis. Blake sees Ellis as a distraction prior to the upcoming big race, the Camden Stakes. The owner of the club where Babe sings, Wally Weber, has his eyes on his horse winning the Camden Stakes. When the issues between Pop and Doyle come to a head, Pop tells Doyle that he has to choose: either he stops seeing Babe, or he'll be replaced as Six-Shooter's jockey in the big race. Angry and frustrated, Doyle quits. Weber approaches him to become the jockey for Rose Dawn, Weber's horse, and Doyle agrees, with the precondition that he not ride Royal Dawn in the Camden Stakes, for he wants Six-Shooter to still win the race. Weber accedes to that one precondition, however, on the day of the race, he makes it clear that Doyle is under contract, and that he will ride Rose Dawn in the race. Upset, Doyle has no choice but to ride Rose Dawn. However, during the race, he manages to chant his signature "Whoop-te-doo" to Six-Shooter, causing his old mount to win the race. Furious that his horse lost, Weber goes to the judges, who rule that Doyle threw the race, pulling back on Rose Dawn, to allow Six-Shooter to win, and suspend Doyle from horse-racing.
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output: Pop Blake

input: Please answer the following: The following article contains an answer for the question: What is the full name of the person following whose death the memorial was abandoned half-finished? , can you please find it? Mary Watts died in 1938, and was buried alongside George Frederic Watts near the Watts Mortuary Chapel, which she had herself designed and built in Compton in 1901. Following her death, and with both George and Mary Watts increasingly out of fashion, the memorial was abandoned half-finished, with only 52 of the intended 120 spaces filled. In the years following Mary Watts's death there were occasional proposals to add new names to complete the memorial, but the Watts Gallery was hostile to the plans, considering the monument in its unfinished state to be a symbol of the Watts's values and beliefs, and that its status as a historic record of its time is what makes it of value in the present day.The nave of Christ Church Greyfriars was destroyed by bombing on 29 December 1940. By then the decline in the population of the City of London had reduced the congregation to less than 80, and the parishes of St Leonard, Foster Lane and Christ Church Greyfriars were merged with nearby St Sepulchre-without-Newgate. Although parts of the ruins were cleared during a widening of King Edward Street after the Second World War, the remains of the nave of Christ Church Greyfriars became a public memorial in 1989; the tower is now office space.St Botolph's Aldersgate remains open as a functioning church. Unusually for an English church, because of its location in a now mainly commercial area with few local residents, services are held on Tuesdays instead of the more traditional Sundays. On 4 January 1950, St Botolph's Aldersgate and the surviving ruins of Christ Church Greyfriars were both designated Grade I listed buildings.In 1934, a statue of Sir Robert Peel erected in Cheapside in 1855 was declared an obstruction to traffic and removed. A proposal that it be installed in front of the Bank of England fell through, and in 1952 it was erected in Postman's Park. In 1971 the Metropolitan Police requested that the statue be moved to the new Peel Centre police training complex, and the Corporation of London agreed. In place of...
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output:
Mary Watts