Q: Given the below context: Inside the church of Sant'Andrea della Valle Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds. The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving. Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca enters and suspiciously asks Cavaradossi what he has been doing she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world"). After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using... Guess a valid title for it!
A: Tosca

Q: Given the below context: Word of the slapping incidents spread informally among soldiers before eventually circulating to war correspondents. One of the nurses who witnessed the 10 August incident apparently told her boyfriend, a captain in the Seventh Army public affairs detachment. Through him, a group of four journalists covering the Sicily operation heard of the incident: Demaree Bess of the Saturday Evening Post, Merrill Mueller of NBC News, Al Newman of Newsweek, and John Charles Daly of CBS News. The four journalists interviewed Etter and other witnesses, but decided to bring the matter to Eisenhower instead of filing the story with their editors. Bess, Mueller, and Quentin Reynolds of Collier's Magazine flew from Sicily to Algiers, and on 19 August Bess gave a summary on the slapping incidents to Eisenhower's chief of staff, Major General Walter Bedell Smith. The reporters asked Eisenhower directly about the incident, and Eisenhower requested that the story be suppressed because the war effort could not afford to lose Patton. Bess and other journalists initially complied. However, the news reporters then demanded Eisenhower fire Patton in exchange for them not reporting the story, a demand which Eisenhower refused.The story of Kuhl's slapping broke in the U.S. when newspaper columnist Drew Pearson revealed it on his 21 November radio program. Pearson received details of the Kuhl incident and other material on Patton from his friend Ernest Cuneo, an official with the Office of Strategic Services, who obtained the information from War Department files and correspondence. Pearson's version not only conflated details of both slapping incidents but falsely reported that the private in question was visibly "out of his head," telling Patton to "duck down or the shells would hit him" and that in response "Patton struck the soldier, knocking him down." Pearson punctuated his broadcast by twice stating that Patton would never again be used in combat, despite the fact that Pearson had no factual basis for this prediction. In response,... Guess a valid title for it!
A: George S. Patton slapping incidents

Q: Given the below context: The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer lengthabout eighty minuteswas unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (19111913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heardand the composer never denied or confirmedsome social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the... Guess a valid title for it!
A:
Ralph Vaughan Williams