Q: Given the following context: In February 1942, following the death of Fritz Todt, Hitler appointed Speer as Minister of Armaments and War Production. Wolters followed Speer to his new ministry, becoming head of the Department of Culture, Media, and Propaganda of the Organization Todt. Wolters continued his Chronik in the new position.In December 1943, Speer put Wolters in charge of planning for the reconstruction of bombed German cities. Wolters organized a working group of about twenty architects and city planners, mostly from northern Germany. The work of this group, known as the Arbeitsstab Wiederaufbauplanung (Task Force for Reconstruction Planning), would form the basis for the actual postwar reconstruction of Germany. Speer, who authorized the group, saw an opportunity to make German cities more habitable in the age of the automobile. The group sought solutions which would use the existing street system, rather than the grand ceremonial boulevards common in Nazi city planning. In addition, the Arbeitsstab issued extensive guidelines, ranging from the width of avenues that carried streetcar lines to the ratio of theatre seats to inhabitants.Wolters rarely met Hitler, and only in the company of other members of Speer's office. He later recorded, Of course, from these few experiences, I cannot judge Hitler's personality, but having shared with Speer his virtually daily contacts with him, and being familiar with Hitler's ideas, for example, on town planning, I think that commentators are making it easy for themselves now when, as they frequently do, they resort in their descriptions to simplistic epitaphs such as "buck private", "wall painter", "petit-bourgeois philistine", or "history's greatest criminal". answer the following question: What was the name of the person Speer was appointed as Minister of Armaments and War Production by?
A: Hitler

Q: Given the following context: At Birmingham, Oliphant's team had reached a different conclusion. Oliphant had delegated the task to two German refugee scientists, Rudolf Peierls and Otto Frisch, who could not work on Oliphant's radar project because they were enemy aliens and therefore lacked the necessary security clearance. Francis Perrin had calculated the critical mass of uranium to be about 40 tonnes (39 long tons; 44 short tons). He reckoned that if a neutron reflector were placed around it, this might be reduced to 12 tonnes (12 long tons; 13 short tons). Peierls attempted to simplify the problem by using the fast neutrons produced by fission, thus omitting consideration of moderator. He too calculated the critical mass of a sphere of uranium in a theoretical paper written in 1939 to be "of the order of tons".Peierls knew the importance of the size of the critical mass that would allow a chain reaction to take place and its practical significance. In the interior of a critical mass sphere, neutrons are spontaneously produced by the fissionable material. A very small portion of these neutrons are colliding with other nuclei, while a larger portion of the neutrons are escaping through the surface of the sphere. Peierls calculated the equilibrium of the system, where the number of neutrons being produced equalled the number escaping.Niels Bohr had theorised that the rare uranium-235 isotope, which makes up only about 0.7% of natural uranium, was primarily responsible for fission with fast neutrons, although this was not yet universally accepted. Frisch and Peierls were thus able to revise their initial estimate of critical mass needed for nuclear fission in uranium to be substantially less than previously assumed. They estimated a metallic sphere of uranium-235 with a radius of 2.1 centimetres (0.83 in) could suffice. This amount represented approximately 1 kilogram (2.2 lb) of uranium-235. These results led to the FrischPeierls memorandum, which was the initial step in the development of the nuclear arms programme in Britain. This... answer the following question: What were the last names of the two people who were enemy aliens?
A: Peierls

Q: Given the following context: The premiere, originally planned for 14 September 1863, was postponed to the 30th because of the illness of the soprano lead, Leontine de Maesen. The first-night audience at the Theatre Lyrique received the work well, and called for Bizet at the conclusion. The writer Louis Gallet, who later would provide several librettos for Bizet, described the composer on this occasion as "a little dazed ... a forest of thick curly hair above a round, still rather childish face, enlivened by the quick brown eyes..." The audience's appreciation was not reflected in the majority of the press reviews, which generally castigated both the work and what they considered Bizet's lack of modesty in appearing on stage. Gustave Bertrand in Le Menestrel wrote that "this sort of exhibition is admissible only for a most extraordinary success, and even then we prefer to have the composer dragged on in spite of himself, or at least pretending to be". Another critic surmised that the calls for the composer had been orchestrated by a "claque" of Bizet's friends, strategically distributed.Of the opera itself, Benjamin Jouvin of Le Figaro wrote: "There were neither fishermen in the libretto nor pearls in the music". He considered that on every page the score displayed "the bias of the school to which [Bizet] belongs, that of Richard Wagner". Bertrand compared the work unfavourably with those of contemporary French composers such as Charles Gounod and Felicien David. "Nevertheless", he wrote, "there is a talent floating in the midst of all these regrettable imitations". Hector Berlioz was a voice apart in the general critical hostility; his review of the work in Journal des Debats praised the music's originality and subtlety: "The score of Les pecheurs de perles does M. Bizet the greatest honour", he wrote. Among Bizet's contemporaries, the dramatist Ludovic Halevy wrote that this early work announced Bizet as a composer of quality: "I persist in finding in [the score] the rarest virtues". The youthful composer Emile Paladilhe told his father... answer the following question: What is the full name of the person whose review of Les pecheurs de perles, in Journal des Debats, praised the music's originality and subtlety?
A:
Hector Berlioz