Problem: Given the question: Given the following context: After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years laterboth of which were abridged and adapted versions of the 1609 scorethere have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a... answer the following question: What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?
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The answer is:
L'Orfeo

Problem: Given the question: Given the following context: En route to California to prospect for gold, ex-sheriff Hooker, professional gambler Fiske, and bounty hunter Luke Daly are forced to stop over in a tiny Mexican village by engine trouble on the ship they are taking. A desperate Leah Fuller hires the three men and local Vicente Madariaga, to rescue her husband, John, who is pinned under debris from a gold mine cave-in in hostile Apache territory. During the harrowing journey, Luke tries to force himself on Leah late one night, forcing Hooker to intervene. Leah tells Hooker that where her husband is trapped, once was a boom town, but a volcano eruption wiped it out, leaving only a church steeple and the mine uncovered by lava. The resident priest called it the "garden of evil". The Indians now consider the volcano sacred. The group then arrives at the mine. They find John unconscious, and they free him. Before John wakes up, Hooker sets the man's broken leg. When John regains consciousness, he accuses Leah of using him to get gold. Hooker talks to Leah later, about what her husband said; after he tells her that he has spotted signs of Apaches nearby, she offers him and the others all the gold they have dug up to take her husband away that night, while she remains behind to make it look like they are all still there. The cynical Fiske unexpectedly offers to stay with her, but when he asks her what he is to her, she tells him, "you're nothing at all, just nothing." answer the following question: Who accuses someone of using them to get gold?
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The answer is:
John

Problem: Given the question: Given the following context: In 1929 young Brooklynite Moss Hart, influenced by the great playwrights, devotes his leisure time to writing for the theater. Failing in his aspirations, however, he accepts a job as social director in the Catskills and then stages plays at the YMHA in Newark. Eventually he takes the advice of agent Richard Maxwell and writes a comedy, Once in a Lifetime, which deals with the early days of Hollywood films, despite the fact that his knowledge of the movie industry is derived from the pages of Variety. After being subsidized by a friend, Joe Hyman, he sends the manuscript to producer Warren Stone, who promises a decision within a week. When months pass without any word, Hart's friends sneak a copy of the play to Sam Harris, who agrees to produce it if George Kaufman will collaborate on the script and also direct. Although Kaufman consents, the Atlantic City opening is a failure, and he considers quitting until Hart comes up with an idea that both men feel will turn the play into a hit. It finally opens to rave reviews in New York City in September 1930, thus beginning the long-lasting Kaufman-Hart collaboration. answer the following question: Who does Joe Hyman subsidize?
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The answer is:
Moss Hart