The answer to the question: What is the last name of the person who greatly admired Ambroise Thomas? is inside the article: Jules Emile Frederic Massenet (French: [yl emil fedeik masn]; 12 May 1842 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music. While still a schoolboy, Massenet was admitted to France's principal music college, the Paris Conservatoire. There he studied under Ambroise Thomas, whom he greatly admired. After winning the country's top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from opera-comique to grand-scale depictions of classical myths, romantic comedies, lyric dramas, as well as oratorios, cantatas and ballets. Massenet had a good sense of the theatre and of what would succeed with the Parisian public. Despite some miscalculations, he produced a series of successes that made him the leading composer of opera in France in the late 19th and early 20th centuries. Like many prominent French composers of the period, Massenet became a professor at the Conservatoire. He taught composition there from 1878 until 1896, when he resigned after the death of the director, Ambroise Thomas. Among his students were Gustave Charpentier, Ernest Chausson, Reynaldo Hahn and Gabriel Pierne. By the time of his death, Massenet was regarded by many critics as old-fashioned and unadventurous although his two best-known operas remained popular in France and abroad. After a few decades of neglect, his works began to be favourably reassessed during the mid-20th century, and many of them have since been staged and recorded. Although critics do not rank him among the handful of outstanding operatic geniuses such as Mozart, Verdi and Wagner, his operas are now widely accepted as well-crafted..., can you guess it ?
Ans: Massenet

The answer to the question: What is the name of the song that appeared in two "best of 1999" radio-station polls? is inside the article: "The World Is Not Enough" received mainly positive reviews from music critics. Kerrang! magazine noted that "Nothing takes a band into the truly immortal like a Bond theme, and Garbage's ever-burgeoning celebrity will be done no harm whatsoever by this appropriately lush and orchestral anthem." A Radio Times reviewer wrote that the song "sounds like Shirley Bassey revisited", while AllMusic's Steve Thomas Erlewine wrote that Garbage "expertly modernized the classic Bond sound, while turning in a strong melodic tune. A first class theme song". PopMatters called the song a "top-notch Bond theme", following the Shirley Bassey template. In a Billboard review, Chuck Taylor wrote that Garbage was an inspired choice and the song "rings of international intrigue, with the slinky gait, noir-ish guitar line and grand chorus we have come to expect ... the song's darkly sexy, electronic ambience is wholly in keeping with Garbage's distinctive soundprint. [It is] not only the best 007 theme in eons, it is a great Garbage track that should thrill fans of band and Bond alike". IGN ranked "The World Is Not Enough" ninth on its list of top 10 James Bond songs: "Shirley Manson's warbling croon is a perfect fit for an opening sequence and her bandmates gel well with Arnold's sweeping symphonics."Negative reviews revolved around the theme's classic Bond sound. LAUNCHcast's James Poletti called the song a "perfectly competent Bond theme", but "the formula seems a little too easy. Perhaps they would have done better to rise to the challenge of doing something a little different, something a little more knowingly tongue-in-cheek." Melody Maker stated, "You know what this sounds like before you hear it. If the people in charge want Garbage, then why not let them do what Garbage do?" In its review of Absolute Garbage, Pitchfork called the song a "predictable 'Goldfinger' permutation signaling the band's limitless affinity for big-budget theatrics."The song appeared in two "best of 1999" radio-station polls: number 87 in 89X's Top 89..., can you guess it ?
Ans: The World Is Not Enough

The answer to the question: What is the name of the name of the orchestra Boult worried would be placed in serious financial jeopardy should Russell remain in post? is inside the article: In 1952 the LPO negotiated a five-year contract with Decca Records, which was unusually rewarding for the orchestra, giving it a 10 per cent commission on most sales. On top of this, Boult always contributed his share of the recording fees to the orchestra's funds. In the same year, the LPO survived a crisis when Russell was dismissed as its managing director. He was an avowed member of the Communist party; when the cold war began some influential members of the LPO felt that Russell's private political affiliations compromised the orchestra, and pressed for his dismissal. Boult, as the orchestra's chief conductor, stood up for Russell, but when matters came to a head Boult ceased to protect him. Deprived of that crucial support, Russell was forced out. Kennedy speculates that Boult's change of mind was due to a growing conviction that the orchestra would be "seriously jeopardized financially" if Russell remained in post. A later writer, Richard Witts, suggests that Boult sacrificed Russell because he believed doing so would enhance the LPO's chance of being appointed resident orchestra at the Royal Festival Hall.In 1953 Boult once again took charge of the orchestral music at a coronation, conducting an ensemble drawn from UK orchestras at the coronation of Elizabeth II. During the proceedings, he conducted the first performances of Bliss's Processional and Walton's march Orb and Sceptre. In the same year he returned to the Proms after a three-year absence, conducting the LPO. The notices were mixed: The Times found a Brahms symphony "rather colourless, imprecise and uninspiring", but praised Boult and the orchestra's performance of The Planets. In the same year the orchestra celebrated its 21st birthday, giving a series of concerts at the Festival Hall and the Royal Albert Hall in which Boult was joined by guest conductors including Paul Kletzki, Jean Martinon, Hans Schmidt-Isserstedt, Georg Solti, Walter Susskind and Vaughan Williams.In 1956 Boult and the LPO visited Russia. Boult had not wished to go on..., can you guess it ?
Ans: LPO