Given the below context:  Despite the positive reception accorded to L'Arianna at its premiere, the duke did not request a second showing, as he had with L'Orfeo the previous year". The next hint of a performance of L'Arianna is in 1614, when the Medici court in Florence requested a copy of the score, presumably with the intention of staging it. There is, however, no record of any such performance there. Early in 1620 Striggio asked Monteverdi to send him the music for a projected performance in Mantua as part of the celebration for the Duchess Caterina's birthday. Monteverdi went to the trouble and expense of preparing a new manuscript with revisions; had he had more time, he informed Striggio, he would have revised the work more thoroughly. Hearing nothing further from the Mantuan court, Monteverdi wrote to Striggio on 18 April 1620, offering to help with the staging. A month or so later, however, he learned that the duchess's celebrations had been scaled back, and that there had been no performance of L'Arianna.There is some evidence to suggest a possible performance in Dubrovnik, in or some time after 1620; a Croatian translation of the libretto was published in Ancona in 1633. However, the only known revival of the work came in Venice, in 1640. Public theatre opera had come to the city in March 1637, when the new Teatro San Cassiano opened with a performance of L'Andromeda by Francesco Manelli. The popularity of this and other works led to more theatres converting their facilities for opera; L'Arianna was chosen to inaugurate the Teatro San Moisè as an opera house during the 1639–40 Carnival (the precise date of this performance is not recorded). A revised version of the libretto had been published in 1639, with substantial cuts and revisions from the 1608 version to remove passages too specifically linked to the Mantuan wedding. The composer, who was by then 73 years old, had acquired considerable prestige in Venice, having been director of music at St Mark's Basilica since 1613. The dedication in the revised and republished...  Guess a valid title for it!
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Answer: L'Arianna


Q: Given the below context:  Sister Mary Bonaventure is in charge of the hospital ward of a convent in the county of Norfolk, England. She is troubled by her own sister's suicide, which she confides to her Mother Superior. A torrential rain closes nearby roads, causing Sergeant Melling of the police to bring condemned murderer Valerie Carns there. She is being taken to prison. Valerie was convicted of poisoning her brother Jason, a pianist. Jason's physician, Dr. Jeffreys, is head of the hospital where Sister Mary now works. Valerie still proclaims her innocence, but Jeffreys insists that she gave Jason a fatal overdose of his medicine. A photograph of Jason clearly disturbs Isabel Jeffreys, the doctor's wife. He gives her a sedative. Valerie appeals to Sister Mary to bring her fiance, Sidney Kingham, to the convent to see her. A servant tells Sister Mary about the sadistic behavior of Jason Carns and produces a love letter to him, clearly written by Isabel. Mother Superior is upset by Sister Mary's meddling. She burns the letter. The nun still intends to tell Melling the police sergeant what she knows. Dr. Jeffreys is the one who gave Jason the fatal dose, and he might be slowly poisoning Isabel as well. He lures Sister Mary to a bell tower, where he attacks her. She rings the bell. Sidney hears it, rushes to her aid and overpowers Jeffreys, who is arrested by Melling. Sister Mary's faith is restored, believing the rain that delivered Valerie to her to be divine intervention.  Guess a valid title for it!
A: Thunder on the Hill


Given the below context:  The museum's founder Sigurður Hjartarson worked as a teacher and principal for 37 years, teaching history and Spanish at Reykjavík's Hamrahlid College for the last 26 years before his retirement. As a child, he owned a bull's pizzle, which was given to him to use as a cattle whip. He began collecting penises after a friend heard the story of the bull's penis in 1974 and gave him four new ones, three of which Sigurður gave to friends. Acquaintances at whaling stations began bringing him whale penises as well, and the collection grew from there, expanding through donations and acquisitions from various sources around Iceland.The organs of farm animals came from slaughterhouses, while fishermen supplied those of pinnipeds and the smaller whales. The penises of larger whales came from commercial whaling stations, although this source dried up after the International Whaling Commission implemented a global ban on commercial whaling in 1986. Sigurður was able to continue to collect whale penises by harvesting them from the 12–16 whales that fall victim to stranding on the Icelandic coast each year. He also obtained the penis of a polar bear shot by fishermen who found the animal drifting on drift ice off the Westfjords.Sigurður was assisted by his family, though not without some occasional embarrassment. His daughter Þorgerður recalls that she was once sent to a slaughterhouse to collect a specimen but arrived just as the workers were taking a lunch break: "Someone asked, 'What's in the basket?' I had to say, 'I'm collecting a frozen goat penis.' After that I said, 'I will never collect for you again.'" According to Sigurður, "Collecting penises is like collecting anything. You can never stop, you can never catch up, you can always get a new one, a better one." The collection was at first housed in Sigurður's office at the college until he retired from his teaching job. He decided, more as a hobby than a job, to put it on public display in Reykjavík and was awarded a grant from the city council of ISK 200,000 to...  Guess a valid title for it!
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Answer:
Icelandic Phallological Museum 1