Please answer this: The answer to the question: What two people sing of how their souls will soon be united in heaven is inside the article: In his tent on the beach, Zurga notes that the storm has abated, as has his rage; he now feels remorse for his anger towards Nadir ("L'orage est calme"). Leila is brought in; Zurga is captivated by her beauty as he listens to her pleas for Nadir's life, but his jealousy is rekindled. He confesses his love for her, but refuses mercy ("Je suis jaloux"). Nourabad and some of the fishermen enter to report that the funeral pyre is ready. As Leila is taken away, Zurga observes her giving one of the fishermen her necklace, asking for its return to her mother. With a shout, Zurga rushes out after the group and seizes the necklace. Outside the temple, Nadir waits beside the funeral pyre as the crowd, singing and dancing, anticipates the dawn and the coming double execution ("Des que le soleil"). He is joined by Leila; resigned now to their deaths, the pair sing of how their souls will soon be united in heaven. A glow appears in the sky, and Zurga rushes in to report that the fishermen's camp is ablaze. As the men hurry away to save their homes, Zurga frees Leila and Nadir. He returns the necklace to Leila, and reveals that he is the man she saved when she was a child. He recognises now that his love for her is in vain, and tells her and Nadir to flee. As the couple depart, singing of the life of love that awaits them, Zurga is left alone, to await the fishermen's return ("Plus de crainte...Reves d'amour, adieu!"). (In the revised version of the ending introduced after the opera's 1886 revival, Nourabad witnesses Zurga's freeing of the prisoners and denounces him to the fishermen, one of whom stabs Zurga to death as the last notes sound of Leila and Nadir's farewell song. In some variations Zurga meets his death in other ways, and his body is consigned to the pyre.), can you guess it ?
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Answer: Nadir

Please answer this: The answer to the question: What is the first name of the person who concluded, "It doesn't matterthe title of the release says it all?" is inside the article: AllMusic editor Janet Rosen gave Romance three stars out of five, saying that it "features the usual smooth, well-crafted pop ear candy from Luis Miguel, earnestly sung over strings and polite Latin rhythms". However, she noted that the songs in the album booklet and the lack of liner notes made it difficult for listeners to know what "to make of this presentation". Rosen concluded, "It doesn't matterthe title of the release says it all." Achy Obejas of the Chicago Tribune gave the record four stars out of four, praising Miguel's refusal "to get campy, which gives the effort far more integrity than might have been imagined" and calling his take on boleros "vibrant and real." Mark Holston reviewed the album positively in the magazine Americas, praising Miguel's vocals, the choice of songs and Silvetti's arrangements: "Romance is a reminder of the enduring quality of timeless music". Sun-Sentinel critic John Lannert called Romance a "superb collection of updated classics" and complimented the artist for staying "fairly close to the string-laden original versions".At the 1992 Billboard Music Awards Miguel was the Top Pop Latin Artist and the Top Hot Latin Tracks Artist, and Romance was the Top Pop Latin Album. In Chile, Romance won the Laurel de Oro Award for best album of the year. The singer was the Best Artist From a Non-English-Speaking Country at the Korean International Music Awards. At the 1993 Grammy Awards, Romance was nominated for Best Latin Pop Album, which was awarded to Jon Secada for his album Otro Dia Mas Sin Verte. That year Romance was also nominated for Pop Album of the Year at the Lo Nuestro Awards, again losing to Secada for his self-titled album. At the 1993 annual Premios Eres, Miguel won three awards: Best Album, Best Male Singer and Best Show (for his tour). The record was the Best International Album and Miguel won the Best International Artist of the Year at the 1993 Ronda de Venezuela awards., can you guess it ?
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Answer: Janet

Please answer this: The answer to the question: What is the name of the person who reportedly wouldn't want to go back to playing "Interstellar Overdrive" for hours and hours? is inside the article: Considered one of the UK's first psychedelic music groups, Pink Floyd began their career at the vanguard of London's underground music scene. Some categorise their work from that era as space rock. According to Rolling Stone: "By 1967, they had developed an unmistakably psychedelic sound, performing long, loud suitelike compositions that touched on hard rock, blues, country, folk, and electronic music." Released in 1968, the song "Careful with That Axe, Eugene" helped galvanise their reputation as an art rock group. Other genres attributed to the band are experimental rock, acid rock, proto-prog, experimental pop (while under Barrett). and psychedelic pop, By the late 1960s, the press had begun to label their music progressive rock. O'Neill Surber comments on the music of Pink Floyd: Rarely will you find Floyd dishing up catchy hooks, tunes short enough for air-play, or predictable three-chord blues progressions; and never will you find them spending much time on the usual pop album of romance, partying, or self-hype. Their sonic universe is expansive, intense, and challenging ... Where most other bands neatly fit the songs to the music, the two forming a sort of autonomous and seamless whole complete with memorable hooks, Pink Floyd tends to set lyrics within a broader soundscape that often seems to have a life of its own ... Pink Floyd employs extended, stand-alone instrumentals which are never mere vehicles for showing off virtuoso but are planned and integral parts of the performance. In 1968, Wright commented on Pink Floyd's sonic reputation: "It's hard to see why we were cast as the first British psychedelic group. We never saw ourselves that way ... we realised that we were, after all, only playing for fun ... tied to no particular form of music, we could do whatever we wanted ... the emphasis ... [is] firmly on spontaneity and improvisation." Waters gave a less enthusiastic assessment of the band's early sound: "There wasn't anything 'grand' about it. We were laughable. We were useless. We couldn't..., can you guess it ?
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Answer:
Waters