Problem: Found the following article online, use it to answer the question: What were pedagogues in the first sense of the term? Curiously, it appears that the Greeks did not "breed" their slaves, at least during the Classical Era, though the proportion of houseborn slaves appears to have been rather large in Ptolemaic Egypt and in manumission inscriptions at Delphi. Sometimes the cause of this was natural; mines, for instance, were exclusively a male domain. On the other hand, there were many female domestic slaves. The example of African slaves in the American South on the other hand demonstrates that slave populations can multiply.Xenophon advised that male and female slaves should be lodged separately, that "nor children born and bred by our domestics without our knowledge and consentno unimportant matter, since, if the act of rearing children tends to make good servants still more loyally disposed, cohabiting but sharpens ingenuity for mischief in the bad." The explanation is perhaps economic; even a skilled slave was cheap, so it may have been cheaper to purchase a slave than to raise one. Additionally, childbirth placed the slave-mother's life at risk, and the baby was not guaranteed to survive to adulthood.Houseborn slaves (oikogeneis) often constituted a privileged class. They were, for example, entrusted to take the children to school; they were "pedagogues" in the first sense of the term. Some of them were the offspring of the master of the house, but in most cities, notably Athens, a child inherited the status of its mother.

A: oikogeneis
Problem: Given the question: Found the following article online, use it to answer the question: What is the first name of the person whose work was dismissed by some critics? Nixon in China is an opera in three acts by John Adams, with a libretto by Alice Goodman. Adams' first opera, it was inspired by U.S. President Richard Nixon's 1972 visit to China. The work premiered at the Houston Grand Opera on October 22, 1987, in a production by Peter Sellars with choreography by Mark Morris. When Sellars approached Adams with the idea for the opera in 1983, Adams was initially reluctant, but eventually decided that the work could be a study in how myths come to be, and accepted the project. Goodman's libretto was the result of considerable research into Nixon's visit, though she disregarded most sources published after the 1972 trip. To create the sounds he sought, Adams augmented the orchestra with a large saxophone section, additional percussion, and electronic synthesizer. Although sometimes described as minimalist, the score displays a variety of musical styles, embracing minimalism after the manner of Philip Glass alongside passages echoing 19th-century composers such as Wagner and Johann Strauss. With these ingredients, Adams mixes Stravinskian 20th-century neoclassicism, jazz references, and big band sounds reminiscent of Nixon's youth in the 1930s. The combination of these elements varies frequently, to reflect changes in the onstage action. Following the 1987 premiere, the opera received mixed reviews; some critics dismissed the work, predicting it would soon vanish. However, it has been presented on many occasions since, in both Europe and North America, and has been recorded twice. In 2011, the opera received its Metropolitan Opera debut, a production based on the original sets, and in the same year was given an abstract production in Toronto by the Canadian Opera Company. Recent critical opinion has tended to recognize the work as a significant and lasting contribution to American opera.
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The answer is:
John
input question: Found the following article online, use it to answer the question: What is the last name of the person who found that mastering a Mahler symphony took between 18 months and two years? Barbirolli is remembered as an interpreter of Elgar, Vaughan Williams and Mahler, as well as Schubert, Beethoven, Sibelius, Verdi and Puccini, and as a staunch supporter of new works by British composers. Vaughan Williams dedicated his Seventh and Eighth Symphonies to Barbirolli, whose nickname, "Glorious John", comes from the inscription Vaughan Williams wrote at the head of the score of the Eighth: "For glorious John, with love and admiration from Ralph." Barbirolli did not disdain lighter repertoire. The music critic Richard Osborne wrote that, if all Barbirolli's recordings were to be lost except that of Lehar's Gold and Silver Waltz, "there would be reason enough to say, 'Now, there was a conductor!'"Barbirolli's repertoire was not as wide as that of many of his colleagues because he insisted on exhaustive preparation for any work he conducted. His colleague Sir Adrian Boult liked and admired Barbirolli but teased him for his meticulousness: "We can't all be like you and spend months studying these things and then have days of rehearsals before we conduct them. For some of us they're only sporting events." Barbirolli was shocked by such levity. His approach was illustrated by the care he took with Mahler's symphonies. His biographer Michael Kennedy commented, "it is ironical that the effort of composing the symphonies shortened Mahler's life; interpreting them certainly put an enormous strain on Barbirolli in his last decade." He found that mastering a Mahler symphony took between 18 months and two years, and he would spend hours meticulously bowing all the string parts in preparation for his performances. His first performance of Mahler's Ninth took nearly 50 hours of rehearsal.???
output answer: Barbirolli
[Q]: Found the following article online, use it to answer the question: What building is an architectural work from the 16th century, brought from Romania? The hub of activity in El Hatillo Town is Bolivar Plaza (Spanish: Plaza Bolivar), a garden square encompassing the central block in the town of El Hatillo. Constructed in 1785, the Plaza was originally called Plaza Mayor or Plaza del Mercado. In 1911, a bust honoring Manuel Escalona was placed in the square, which was renamed in his honor. In 1952, the bust was replaced with a statue of Simon Bolivar, and the plaza was again renamed after the Venezuelan hero. Across from the Bolivar Square is the 18th century Santa Rosalia de Palermo Church, which was declared a National Historic Monument in 1960. Between El Hatillo and La Lagunita is the smaller Manuel Escalona Plaza (Spanish: Plazoleta Manuel Escalona), another urban monument displaying the bust of Escalona that formerly occupied Bolivar Square. Sucre Plaza (Spanish: Plaza Sucre) graced since 1915 with a ceiba tree at its center is in the southern part of town; this was historically where people tied their mules while frequenting The Four Corners, and it is also known as Plaza La Ceiba. The Four Corners (Spanish: Las Cuatro Esquinas) was a convenient social gathering spot in El Hatillo, comprising a general store, hardware shop, gambling place and bar.La Lagunita is the site of the San Constantino and Santa Elena Romanian Orthodox Church. The building is an architectural work from the 16th century, brought from Romania, made completely from oak and fir woods, and detailed with more than 40,000 individually placed and carved tiles. It is one of only 15 churches of its type remaining in the world, and one of only two outside of Romania, the other being in Switzerland.For children, the Caicaguana hacienda in La Lagunita houses the Expanzoo, where visitors can see and touch exotic animals. The zoo is recognised for offering unique employment opportunities; the workers are from families with few resources, and the staff include the mentally ill. The Baby Zoo is another place for children to interact with animals; visitors can feed and touch the animals,...
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[A]:
San Constantino and Santa Elena Romanian Orthodox Church