Problem: Given the question: What is the answer for the question: What is the name of the assignment for which Gilbert was a logical choice? from the following article ? Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes. Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques. How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premiering that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in...
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The answer is:
Thespis

Problem: Given the question: What is the answer for the question: What was the name of the ship that La Salle was convinced was intentionally grounded? from the following article ? On February 20, the colonists set foot on land for the first time in three months since leaving Saint-Domingue. They set up a temporary camp near the site of the present-day Matagorda Island Lighthouse. The chronicler of the expedition, Henri Joutel, described his first view of Texas: "The country did not seem very favorable to me. It was flat and sandy but did nevertheless produce grass. There were several salt pools. We hardly saw any wild fowl except some cranes and Canadian (sic) geese which were not expecting us."Against Beaujeu's advice, La Salle ordered La Belle and the Aimable "to negotiate the narrow and shallow pass" to bring the supplies closer to the campsite. To lighten L'Aimable's load, its eight cannons and a small portion of its cargo were removed. After La Belle successfully negotiated the pass, La Salle sent her pilot to L'Aimable to assist with the navigation, but L'Aimable's captain refused the help. As the Aimable set sail, a band of Karankawa approached and carried off some of the settlers. La Salle led a small group of soldiers to rescue them, leaving no one to direct the Aimable. When he returned, he found the Aimable grounded on a sandbar. Upon hearing that the captain had ordered the ship to sail forward after it had struck a sandbar, La Salle became convinced that the captain had deliberately grounded the ship.
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The answer is:
Aimable

Problem: Given the question: What is the answer for the question: What is the name of the person who Madame Rimskaya-Korsakov reportedly begged in tears to let her arrange the work for piano duet? from the following article ? Tchaikovsky played the finale of his Second Symphony, subtitled the Little Russian, at a gathering at Rimsky-Korsakov's house in Saint Petersburg on January 7, 1873, before the official premiere of the entire work. To his brother Modest, he wrote, "[T]he whole company almost tore me to pieces with raptureand Madame Rimskaya-Korsakova begged me in tears to let her arrange it for piano duet". Rimskaya-Korsakova was a noted pianist, composer and arranger in her own right, transcribing works by other members of the kuchka as well as those of her husband and Tchaikovsky's Romeo and Juliet. Borodin was present and may have approved of the work himself. Also present was Vladimir Stasov. Impressed by what he had heard, Stasov asked Tchaikovsky what he would consider writing next, and would soon influence the composer in writing the symphonic poem The Tempest.What endeared the Little Russian to the kuchka was not simply that Tchaikovsky had used Ukrainian folk songs as melodic material. It was how, especially in the outer movements, he allowed the unique characteristics of Russian folk song to dictate symphonic form. This was a goal toward which the kuchka strived, both collectively and individually. Tchaikovsky, with his Conservatory grounding, could sustain such development longer and more cohesively than his colleagues in the kuchka. (Though the comparison may seem unfair, Tchaikovsky authority David Brown has pointed out that, because of their similar time-frames, the finale of the Little Russian shows what Mussorgsky could have done with "The Great Gate of Kiev" from Pictures at an Exhibition had he possessed academic training comparable to that of Tchaikovsky.)
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The answer is:
Tchaikovsky