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In this task, you are given a set of context paragraph and some supporting facts to answer a question. Your task is to generate answer for given question based on set of context paragraphs and supporting facts.

Context_1 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an "American original". He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Context_2 : Daniel Evan Freeman (born 27 April 1959) is an American musicologist who specializes in European art music of the eighteenth century, in particular the musical culture of eighteenth-century Prague and the Bohemian lands. He is also active as a pianist and music editor. Context_3 : Art music (also known as Western classical music, cultivated music, serious music, canonic music, and more flippantly, real music or normal music) is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. "Serious" or "cultivated" music are terms frequently used as a contrast for ordinary, everyday music (popular and folk music, also called "vernacular music"). After the 20th century, art music was divided into two extensions: "serious music" and "light music". Context_4 : In the history of European art music, the term "common practice period" refers to the era between the formation and the dissolution of the tonal system. Though there are no exact dates for this phenomenon, most features of the common-practice period persisted from the mid to late baroque period, through the Classical and Romantic periods, or roughly from around 1650 to 1900. While certain prevailing patterns and conventions characterize the music of this period, the time period also saw considerable stylistic evolution. Some conventions evolved during this period that were rarely employed at other times during what may still be labeled "common practice" (for example, Sonata Form). Thus, the dates 16501900 are necessarily nebulous and arbitrary borders that depend on context. The most important unifying feature through this time period concerns a harmonic language to which modern music theorists can apply Roman numeral analysis. Context_5 : The Festival Oude Muziek Utrecht ("Utrecht Early Music Festival") is an annual music festival that showcases and celebrates early European art music. The ten-day festival takes place in the Dutch city of Utrecht, and begins in August. The programme comprises concerts, activities, lectures, exhibitions, and a symposium. Context_6 : Assaf Shelleg (Hebrew: ), is a musicologist and pianist, a senior lecturer of musicology at The Hebrew University of Jerusalem. He was previously the Schusterman Visiting Assistant Professor of Musicology and Jewish Studies in the Department of Religious Studies at the University of Virginia (201114), and had taught prior to that as the visiting Efroymson Scholar in the Jewish, Islamic & Near Eastern Languages and Cultures Department at Washington University in St. Louis (200911). Shelleg specializes in twentieth-century Jewish and Israeli art music and has published in some of the leading journals in both musicology and Israel Studies on topics ranging from the historiography of modern Jewish art music to the theological networks of Israeli art music. Shelleg's book, "Jewish Contiguities and the Soundtrack of Israeli History", appeared in November 2014 with Oxford University Press. The book studies the emergence of modern Jewish art music in central and Western Europe (1910s-1930s) and its translocation to Palestine/Israel (1930s-1970s), exposing the legacies of European antisemitism and religious Judaism in the making of Israeli art music. Moving to consider the dislocation of modern Jewish art music the book examines the paradoxes embedded in a Zionist national culture whose rhetoric negated its pasts, only to mask process of hybridizations enchained by older legacies. "Jewish Contiguities" has won the 2015 Engle Prize for the study of Hebrew Music, and the 2016 Jordan Schnitzer Book Award. Context_7 : Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads. In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song. In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes). Context_8 : David Wallis Reeves (February 14, 1838 March 8, 1900), also known as D. W. Reeves or Wally Reeves, was an American composer, cornetist, and bandleader. He developed the American march style, later made famous by the likes of John Philip Sousa, and his innovations include adding a countermelody to the American march form in 1876. Sousa called Reeves "The Father of Band Music in America", and stated he wished he himself had written Reeves' "Second Regiment Connecticut National Guard March". Charles Ives also borrowed from the "Second Connecticut" on four occasions. Context_9 : "Indian classical music is one of many forms of art music that have their roots in particular regional cultures. For other "classical" and art music traditions, see List of classical and art music traditions." Context_10 : Progressive music is music that subverts genre and expands stylistic boundaries outwards. Rooted in the idea of a cultural alternative, musical progressiveness embodies a continuous move between explicit and implicit references to genres and strategies derived from various cultural domains, such as European art music, Celtic folk, West Indian, or African. The word "progressive" comes from the basic concept of "progress", which refers to development and growth by accumulation, and is often deployed in numerous music genres such as progressive country, progressive folk, progressive jazz, and (most significantly) progressive rock. fact_1 : Charles Ives also borrowed from the "Second Connecticut" on four occasions. fact_2 : Charles Edward Ives ( ; October 20, 1874May 19, 1954) was an American modernist composer. fact_3 : He combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones, foreshadowing many musical innovations of the 20th century. Question: What is the birthyear of the American composer that borrowed from "Second Connecticut" on four occasions and combined American popular and church-music traditions with European art music?
Solution: 1874May
Why? From the fact_1 from context _8, and fact _2 and fact _3 from context _1, we can arrive at 1874 May which is accurate answer of given question.

New input: Context_1 : The Scarf is a chamber opera in one act by composer Lee Hoiby. The work uses an English libretto by Harry Duncan that is based on the short story "The Witch" by Anton Chekhov. Composed in 1955, the opera premiered on June 20, 1958 at the very first Festival dei Due Mondi in Spoleto, Italy in a production by Gian Carlo Menotti and conducted by Reinhard Peters. The cast included Patricia Neway as Miriam, John McCollum as Reuel, and Richard Cross as the Postman. The work received its American premiere the following year at the New York City Opera. Context_2 : A Hand of Bridge, opus 35, is an opera in one act composed by Samuel Barber with libretto by Gian Carlo Menotti, and is possibly the shortest opera that is regularly performed: it lasts about nine minutes. It premiered as a part of Menotti's Festival of Two Worlds in Spoleto on 17 June 1959 at the Teatro Caio Melisso. The United States premiere occurred the next year. The opera consists of two unhappily married couples playing a hand of bridge, during which each character has an arietta in which he or she professes his or her inner desires. Context_3 : The Telephone, or L'Amour a trois is an English-language comic opera in one act by Gian Carlo Menotti, both words and music. It was written for production by the Ballet Society and was first presented on a double bill with Menotti's "The Medium" at the Heckscher Theater, New York City, February 1820, 1947. The Broadway production took place on May 1, 1947, at the Ethel Barrymore Theatre. The Metropolitan Opera presented it once, on July 31, 1965. Context_4 : Help, Help, the Globolinks! is an opera in four scenes by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by the Hamburg State Opera and first performed as "Hilfe, Hilfe, die Globolinks!" in a German translation by on December 21, 1968 in a double bill with Menotti's "Amahl and the Night Visitors". The opera had its English language premiere on August 1, 1969 in the United States at the Santa Fe Opera in a double bill with Igor Stravinsky's "The Nightingale". Both premiere productions were directed by the composer. Many of the cast members from the Santa Fe production reprised their roles for the work's New York debut at the New York City Opera in December 1969. Context_5 : Labyrinth is an opera in one act by composer Gian Carlo Menotti. The work was commissioned for television by the NBC Opera Theatre and uses an English language libretto by the composer. Unlike Menotti's previous television operas, such as "Amahl and the Night Visitors", this opera was written with no intention of being moved to live stage performance later. Menotti intended for this work to utilize the special effects unique to television which could not be recreated in live theatre. As a result, NBC's television production of the opera is the only performance the work has received. At its premiere in March 1963 the opera was mainly criticized by the press for its trite use of allegory and music which rejected the avante garde in favour of romanticism. Critic Harold C. Schonberg stated in his review in "The New York Times" that, "Menotti falls back on the procedures he has always used: the scraps of canonic imitation, the stretches of parlando, the Puccini like melodies, the banal waltz themes... [It] ended up an allegory that had all the dimension of a Mobius strip: an example of slick television and cinema of the 1960s wedded pretty much to music of the 1890s... On the whole "Labyrinth" is one of the thinnest musical concoctions Menotti has ever put together. Context_6 : Martin's Lie is a chamber opera in one act with music and an English language libretto by Gian Carlo Menotti. Commissioned by CBS, it was Menotti's third opera for television after "Amahl and the Night Visitors" and "Labyrinth". Although not initially conceived as a work for the stage, the opera premiered in a live theatrical performance on 3 June 1964 at the Bristol Cathedral for the opening of the 17th annual Bath International Music Festival. The opera was subsequently filmed with the same cast for television under the direction of Kirk Browning. The production used sets and costumes by designer Anthony Powell, and was broadcast nationally by CBS for the opera's United States premiere on 30 May 1965. Context_7 : The Saint of Bleecker Street is an opera in three acts by Gian Carlo Menotti to an original English libretto by the composer. It was first performed at the Broadway Theatre in New York City on December 27, 1954. David Poleri and Davis Cunningham alternated in the role of Michele, and Thomas Schippers conducted. It ran for 92 consecutive performances. Context_8 : Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed by the NBC Opera Theatre on December 24, 1951, in New York City at NBC studio 8H in Rockefeller Center, where it was broadcast live on television from that venue as the debut production of the "Hallmark Hall of Fame". It was the first opera specifically composed for television in America. Context_9 : Clinton Marius (born 20 August 1966 in Pietermaritzburg) is a South African writer and performer. He made his first professional appearance singing the lead role in Menotti's opera, "Amahl and the Night Visitors" at age twelve. His poetry has been published internationally, while he is also known for penning several plays and collections of short stories, as well as the fictional biography of a guru, "Sunshine - The Booklet of the Biography". Context_10 : The Old Maid and the Thief is a radio opera in one act by Italian-American composer Gian Carlo Menotti. The work uses an English language libretto by the composer which tells a twisted tale of morals and evil womanly power. Menotti writes in the libretto "The devil couldn't do what a woman can- Make a thief out of an honest man." fact_1 : He made his first professional appearance singing the lead role in Menotti's opera, "Amahl and the Night Visitors" at age twelve. fact_2 : Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. Question: Clinton Marius, is a South African writer and performer, he made his first professional appearance singing the lead role in which opera in one act by Gian Carlo Menotti with an original English libretto by the composer?
Solution:
Amahl and the Night Visitors