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: At first, Baylis presented both drama and opera at each of her theatres. The companies were known as the "Vic-Wells". However, for both aesthetic and financial reasons, by 1934, the Old Vic had become the home of the spoken drama, while Sadler's Wells housed both the opera and a ballet company, the latter co-founded by Baylis and Ninette de Valois in 1930.Lawrance Collingwood joined the company as resident conductor alongside Corri. With the increased number of productions, guest conductors were recruited, including Geoffrey Toye and Anthony Collins. The increasing success of the new ballet company helped to subsidise the high cost of opera productions, enabling a further increase in the size of the orchestra, to 48 players. Among the singers in the opera company were Joan Cross and Edith Coates. In the 1930s, the company presented standard repertoire operas by Mozart, Verdi, Wagner and Puccini, lighter works by Balfe, Donizetti, Offenbach and Johann Strauss, some novelties, among which were operas by Holst, Ethel Smyth and Charles Villiers Stanford, and an unusual attempt at staging an oratorio, Mendelssohn's Elijah.In November 1937, Baylis died of a heart attack. Her three companies continued under the direction of her appointed successors: Tyrone Guthrie at the Old Vic, in overall charge of both theatres, with de Valois running the ballet, and Carey and two colleagues running the opera. In the Second World War, the government requisitioned Sadler's Wells as a refuge for those made homeless by air-raids. Guthrie decided to keep the opera going as a small touring ensemble of 20 performers. Between 1942 and the war's end in 1945, the company toured continuously, visiting 87 venues. Joan Cross led and managed the company, and also sang leading soprano roles in its productions when needed. The size of the company was increased to 50, and then to 80. By 1945, its members included singers from a new generation such as Peter Pears and Owen Brannigan, and the conductor Reginald Goodall.
Question: What is the first name of the person who decided to keep the opera going as a small touring ensemble of 20 performer?
[A]: Tyrone.

[Q]: Passage: 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 variety of tempo within individual numbers. In a survey of recorded opera Alan Blyth writes that Saint-Saens "certainly learned much from Handel, Gluck, Berlioz, the Verdi of Aida, and Wagner, but from these excellent models he forged his own style.".
Question: What were the names of the five models Saint-Saens forged his own style from?
[A]: Handel.

[Q]: Passage: Until its acceptance by the National Trust, Belton House was always in the ownership of the family of its builder, though the failure of three generations to produce a son and heir caused the ownership to pass sideways and sometimes through the female line.
The owners of Belton are buried in the village of Belton's parish church close to the house. Their tombs are collectively one of the most complete sets of family memorials in Englandcontinuous generation to generation for almost 350 years. The earliest Brownlow buried here is the founder of the family fortune the lawyer Richard Brownlow (15551638), and one of the most recent is the 6th Baron Brownlow (18991978).
The owners of Belton House have been:
Sir John Brownlow I (15941679) Bequeathed Belton to his great-nephew John Brownlow II.
Sir John Brownlow II (16591697). Builder of Belton House
Sir William Brownlow (16651702). Brother of Sir John Brownlow II, permitted his widowed sister-in-law Alice to retain Belton.
Sir John Brownlow III (16901754). Created Viscount Tyrconnel in 1718. Nephew and son-in-law of Sir John Brownlow II.
Sir John Cust, 3rd Baronet (17181770). Speaker of the House of Commons and nephew of Tyrconnel.
Sir Brownlow Cust (17441807). Created Baron Brownlow in 1776. Son of Sir John Cust.
John, 2nd Baron Brownlow (17791853). Created 1st Earl Brownlow in 1815. Son of Sir Brownlow Cust.
John Egerton-Cust, 2nd Earl Brownlow (18421867) Grandson of John, 2nd Baron Brownlow.
Adelbert, 3rd (and last) Earl Brownlow (18441921). Brother of John, 2nd Earl Brownlow.
Adelbert Salusbury Cockayne Cust, 5th Baron Brownlow (18671927). Second cousin of Adelbert, 3rd Earl Brownlow.
Peregrine Cust, 6th Baron Brownlow (18991978). Son of the 5th Baron Brownlow.
Edward Cust, 7th Baron Brownlow (born 1936). Son of the 6th Baron Brownlow.
The National Trust (1984 onwards).
Question: What is the first name of the man who was the brother of John, 2nd Earl Brownlow?
[A]:
Adelbert.