Q: The following article contains an answer for the question: What is the last name of the person who worked for Richard D'Olyly Carte's opera companies? , can you please find it?   Sir Henry Joseph Wood  (3 March 1869 – 19 August 1944) was an English conductor best known for his association with London's annual series of promenade concerts, known as the Proms.  He conducted them for nearly half a century, introducing hundreds of new works to British audiences. After his death, the concerts were officially renamed in his honour as the "Henry Wood Promenade Concerts", although they continued to be generally referred to as "the Proms". Born in modest circumstances to parents who encouraged his musical talent, Wood started his career as an organist. During his studies at the Royal Academy of Music, he came under the influence of the voice teacher Manuel Garcia and became his accompanist. After similar work for Richard D'Oyly Carte's opera companies on the works of Arthur Sullivan and others, Wood became the conductor of a small operatic touring company.  He was soon engaged by the larger Carl Rosa Opera Company. One notable event in his operatic career was conducting the British premiere of Tchaikovsky's Eugene Onegin in 1892. From the mid-1890s until his death, Wood focused on concert conducting. He was engaged by the impresario Robert Newman to conduct a series of promenade concerts at the Queen's Hall, offering a mixture of classical and popular music at low prices. The series was successful, and Wood conducted annual promenade series until his death in 1944. By the 1920s, Wood had steered the repertoire entirely to classical music.  When the Queen's Hall was destroyed by bombing in 1941, the Proms moved to the Royal Albert Hall. Wood declined the chief conductorships of the New York Philharmonic and Boston Symphony Orchestras, believing it his duty to serve music in the United Kingdom. In addition to the Proms, he conducted concerts and festivals throughout the country and also trained the student orchestra at the Royal Academy of Music. He had an enormous influence on the musical life of Britain over his long career: he and Newman greatly improved access to classical music, and Wood...
A: Wood

Q: The following article contains an answer for the question: What is the name of the home of the impious and wicked part of the multitude? , can you please find it?   The location of the Acra is important for understanding how events unfolded in Jerusalem during the struggle between Maccabean and Seleucid forces. This has been the subject of debate among modern scholars. The most detailed ancient description of the nature and location of the Acra is found in Josephus' Antiquities of the Jews, where it is described as residing in the Lower City, upon a hill overlooking the Temple enclosure: ...and when he had overthrown the city walls, he built a citadel [Greek: Acra] in the lower part of the city, for the place was high, and overlooked the temple; on which account he fortified it with high walls and towers, and put into it a garrison of Macedonians. However, in that citadel dwelt the impious and wicked part of the multitude, from whom it proved that the citizens suffered many and sore calamities. The location of the "lower part of the city", elsewhere referred to as the "Lower City", at the time of Josephus (1st century CE) is accepted to be Jerusalem's south-eastern hill, the original urban center traditionally known as the City of David. Lying to the south of the Temple Mount, however, the area exposed today is significantly lower than the Mount itself. The top of the Mount is approximately 30 metres (98 ft) above the ground level at the southern retaining wall of the later Herodian-era expansion of the Temple enclosure. The elevation decreases to the south of this point. Josephus, a native of Jerusalem, would have been well aware of this discrepancy, yet is nevertheless able to explain it away by describing how Simon had razed both the Acra and the hill on which it had stood. Archaeological research south of the Temple Mount, however, has failed to locate any evidence for such large-scale quarrying. On the contrary, excavations in the region have uncovered substantial evidence of habitation from the beginning of the first millennium BCE down to Roman times, casting doubt on the suggestion that during Hellenistic times the area was significantly higher than it was at the...
A: Acra

Q: The following article contains an answer for the question: What two classes of people did Shakespeare appeal to? , can you please find it?   In the 18th century, Shakespeare became associated with rising British nationalism, and Boydell tapped into the same mood that many other entrepreneurs were exploiting. Shakespeare appealed not only to a social elite who prided themselves on their artistic taste, but also to the emerging middle class who saw in Shakespeare's works a vision of a diversified society. The mid-century Shakespearean theatrical revival was probably most responsible for reintroducing the British public to Shakespeare. Shakespeare's plays were integral to the theatre's resurgence at this time. Despite the upsurge in theatre-going, writing tragedies was not profitable, and thus few good tragedies were written. Shakespeare's works filled the gap in the repertoire, and his reputation grew as a result. By the end of the 18th century, one out of every six plays performed in London was by Shakespeare.The actor, director, and producer David Garrick was a key figure in Shakespeare's theatrical renaissance.  His reportedly superb acting, unrivalled productions, numerous and important Shakespearean portraits, and his spectacular 1769 Shakespeare Jubilee helped promote Shakespeare as a marketable product and the national playwright. Garrick's Drury Lane theatre was the centre of the Shakespeare mania which swept the nation.The visual arts also played a significant role in expanding Shakespeare's popular appeal. In particular, the conversation pieces designed chiefly for homes generated a wide audience for literary art, especially Shakespearean art. This tradition began with William Hogarth (whose prints reached all levels of society) and attained its peak in the Royal Academy exhibitions, which displayed paintings, drawings, and sculptures. The exhibitions became important public events: thousands flocked to see them, and newspapers reported in detail on the works displayed.  They became a fashionable place to be seen (as did Boydell's Shakespeare Gallery, later in the century).  In the process, the public was refamiliarized with Shakespeare's works.
A:
emerging middle class