Problem: Given the question: Given the following context: Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saens, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saens a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saens cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson,... answer the following question: What was the name of the director of the Conservatoire?
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The answer is:
Thomas

Problem: Given the question: Given the following context: The film begins with Naomi Arkoff being taken by her father Carver Arkoff into the basement of their castle home in Rome, Italy, where there lies a rack. Carver ties Naomi to both ends of the rack and turns the wheel, hurting her. Carver claims that her punishment this time is for having a cell phone, which was against the father's wishes. After begging her father to let her go, Carver unties her, but warns her that the next time she has a cellphone in the house, her punishment is not going to be slow and painful. As she gets released, she runs off upstairs, strangely screaming: "I can run faster than you!" over and over again. The next afternoon, Carver comes downstairs into the dining room to be questioned by his wife Lisbeth about what he did to Naomi the previous night. They then encourage Carver's half brother Peter, who is mentally retarded, to have lunch with them, where Carver tells Peter that the lamb that they're eating was Sophia, who Peter had grown an affection with. When Naomi comes downstairs and finds out what's up, she gives her toy animal of a horse to him, which appears to cheer him up. Later, Lisbeth takes a tray of food upstairs to her father, who throughout the entire film has his face not seen. Lisbeth then continues to read Edgar Allan Poe's "From Childhood's Hour" to him. Afterward, she alerts him that his guardian angels are in the room to protect him, which are shown to be small little creatures with big skull heads. answer the following question: What is the full name of the character who gives her half-brother a stuffed toy horse?
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The answer is:
Naomi Arkoff

Problem: Given the question: Given the following context: The panel is the smallest extant work by van der Weyden and follows the tradition of a Madonna Lactans, with significant differences. Christ is dressed in a red garment, as opposed to the swaddling he usually wears in 15th-century Virgin and Child portrayals. This is one of two exceptions where he is fully clothed; the other is Robert Campin's Madonna in Frankfurt, where he is shown in blue clothing. Mary's unbound blond hair falls across her shoulders and down across her arms. Showing the influence of Campin, it is brushed behind the ears. She wears a crown as Queen of Heaven and a ring on a finger as the Bride of Christ. Reinforcing this, the blue colour of her robe alludes to her devotion and fidelity to her son. The folds of her dress are reminiscent of the lengthy, crisp, curved intertwined gowns of Gothic sculpture.The pictorial space is bathed in soft light, probably an influence from Jan van Eyck. The light falls from the right, throwing shadows of both Mary and the Child's heads on the left wall of the niche. The Virgin and Child are shown seated in a small Gothic chapel or oratory projecting from a wall and opening onto a lawn. The painting pays very close attention to small realistic detail; for example, there are four small holes above each arch, likely to hold scaffolding. As with other early van der Weyden depictions of the Madonna, her head is slightly too large for her body. Her dress is creased and almost paper-like. However, the description of her lap contains inconsistencies also in Campin's Virgin and Child before a Firescreen; it appears to lack volume and is if she had only one leg. This seems to reflect an early difficulty both with foreshortening and in the depiction of a body under clothing.The chapel is unrealistically small compared to the Virgin; van der Weyden's intention was to emphasise the Virgin's presence while also symbolically representing the Church and the entire doctrine of the Redemption. The panel is one of three surviving of van der Weyden's in which both Madonna and... answer the following question: What is the name of the person wearing a crown as Queen of Heaven?
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The answer is:
Mary