Problem: A friend asked me to answer this question: Who is the soldier that is wounded due to the marine goofing off?, using the article: Note: the story is told from the viewpoint of Corporal Robert Dunne. Tough-as-nails career Marine Sergeant John Stryker is greatly disliked by the men of his squad, particularly the combat replacements, for the rigorous training he puts them through. He is especially despised by PFC Peter "Pete" Conway, the arrogant, college-educated son of an officer, Colonel Sam Conway under whom Stryker served and admired, and PFC Al Thomas, who blames him for his demotion. When Stryker leads his squad in the invasion of Tarawa, the men begin to appreciate his methods. Within the first couple of minutes of the battle, the platoon leader, Lt. Baker, is killed only seconds after he lands on the beach, PFC "Farmer" Soames is wounded in the leg, and PFC Choynski receives a head wound. The marines are aggressively pinned down by a pillbox. Able Company commander Captain Joyce takes charge and he begins to send out marines to silence the pillbox. As a result of three unsuccessful attempts to reach the pillbox, two demolition marines and a flamethrower operator are killed and PFC Shipley is left mortally wounded in the line of fire. Sgt. Stryker takes action and demolishes the pillbox. Shipley would eventually die of his wounds in front of his best friend Regazzi (Wally Cassell). Later on, Thomas becomes distracted from his mission, and "goofs off" when he goes to get ammunition for two comrades, stopping to savor a cup of coffee. As a result, though he brings back coffee for his squadmates, he returns too late the two Marines, now out of ammunition, in the interim are shown being overrun; Hellenopolis is killed, Bass badly wounded., what would be the answer ?

A: Bass

Problem: A friend asked me to answer this question: What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?, using the article: 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..., what would be the answer ?

A: L'Orfeo

Problem: A friend asked me to answer this question: What name did the company that was titled "Sadler's Wells Opera" eventually change its name to?, using the article: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai. The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier. The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janacek operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood..., what would be the answer ?

A:
English National Opera