[Q]: This article: The NSWCA appealed to Lord Harris, and in reply he said he did not blame them or the cricketers of Sydney in any way, but said that "it [the riot] was an occurrence it was impossible he could forget". On 11 February, one day after the conclusion of the match and three days after the riot, Harris wrote a letter to one of his friends about the disturbance. It was clear that he intended the letter to be printed in the press, and it appeared in full in The Daily Telegraph on 1 April, among other London newspapers, reigniting the furore. Wisden Cricketers' Almanack considered the incident of such significance that it reprinted the whole correspondence. The letter gives a detailed contemporary account of what Lord Harris thought about the riot.Lord Harris referred to the crowd as a "howling mob" and said "I have seen no reason as yet to change my opinion of Coulthard's qualities, or to regret his engagement, in which opinion I am joined by the whole team". He further added that "Beyond slyly kicking me once or twice the mob behaved very well, their one cry being, 'Change your umpire'. And now for the cause of this disturbance, not unexpected, I may say, by us, for we have heard accounts of former matches played by English teams." Harris further accused a New South Wales parliamentarian of assisting the gamblers in the inciting the unrest, although he did not name the accusee. He said I blame the NSW Eleven for not objecting to Coulthard before the match began, if they had reason to suppose him incompetent to fulfil his duties. I blame the members of the association (many, of course, must be excepted) for their discourtesy and uncricket like behaviour to their guests; and I blame the committee and others of the association for ever permitting betting, but this last does not, of course, apply to our match only. I am bound to say they did all in their power to quell the disturbance. I don't think anything would have happened if A. Bannerman had been run out instead of Murdoch, but the latter, besides being a great... contains an answer for the question: Who did Harris accuse of assisting the gamblers in the inciting the unrest,?, what is it ?
****
[A]: New South Wales parliamentarian

input: Please answer the following: This article: 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... contains an answer for the question: What is the full name of the person Cavaradossi promises to assist after nightfall?, what is it ?
++++++++++
output: Cesare Angelotti

Problem: This article: A five-movement ballet occurred somewhere in Act II, staged by W. H. Payne. A heading in the libretto, "Chorus and Ballet", attaches it to the last section of the finale but does not indicate how it figured in the plot. Most press accounts placed it at about this point, although some placed it slightly earlier in the act. At some performances, the ballet was performed in Act I, but it was certainly in Act II on opening night, and it seems finally to have settled there.In 1990, Roderick Spencer and Selwyn Tillett discovered the ballet from Act II of Thespis. Two of the five movements, in the same hand that had copied the score of "Climbing over rocky mountain", were found together with the surviving performance materials for Sullivan's 1864 ballet, L'Ile Enchantee. Another section was found in the material for his 1897 ballet, Victoria and Merrie England. The page numbering of the surviving three sections gave approximate lengths for the missing pieces, and a contemporary engraving, seen at left, along with other circumstantial evidence, allowed plausible identifications of the two remaining movements: a dragon costume, used nowhere in the libretto, is presumably from the ballet, and the harp visible in the orchestra pit was an unusual instrument for the Gaiety's orchestra. Movements of appropriate length that made sense of these oddities were found in Sullivan's other ballets, and the reconstructed ballet has been recorded twice on CD. Sullivan tended to re-use his ballet music. Of the five movements that Tillett and Spencer identified, only one (the Waltz, No. 3) is not known to have been used in any other work. Three of the movements had previously been used in L'Ile Enchantee. Two of those, and one other, were eventually re-used in Victoria and Merrie England. One was also used in his incidental music to Macbeth. Sullivan was asked in 1889 to supply a ballet for a French-language production of The Mikado in Brussels, which he duly did. Tillett suggests that the Thespis ballet was almost certainly the music... contains an answer for the question: Which one of Sullivan's five movements was not known to have been used in any other work?, what is it ?

A:
the Waltz, No. 3