Problem: Given the question: Given the below context:  Around 1730, the Baroque style gradually began to break away from the defined Roman style of Baroque and gain an even stronger individuality, for two reasons: the rush to rebuild was subsiding, construction was becoming more leisurely and thoughtful; and a new clutch of home-grown Sicilian architects came to the forefront. This new generation had watched the rebuilding in the Baroque, and studied the ever more frequent engravings and architectural books and treatises arriving from the mainland. However, they were not like their predecessors (the former students of the Romans), and consequently were able to formulate strong individual styles of their own. They included Andrea Palma, Rosario Gagliardi and Tommaso Napoli. While taking account of the Baroque of Naples and Rome, they now adapted their designs for the local needs and traditions. Their use of resources and exploitation of the sites was often wildly inventive. Napoli and then Vaccarini had promoted the use of the external staircase, which was now taken to a new dimension: churches upon the summits of a hills would be reached by fantastical flights of steps evoking Vaccarini's mentor Francesco de Sanctis's Spanish Steps in Rome.Façades of churches often came to resemble wedding cakes rather than places of worship as the architects grew in confidence, competence, and stature. Church interiors, which until this date had been slightly pedestrian, came especially in Palermo to be decorated in a riot of inlaid marbles of a wide variety of colours. Anthony Blunt has described this decoration as "either fascinating or repulsive, but however the individual spectator may react to it, this style is a characteristic manifestation of Sicilian exuberance, and must be classed amongst the most important and original creations of Baroque art on the island". This is the key to Sicilian Baroque; it was ideally matched to the Sicilian personality, and this was the reason it evolved so dramatically on the island. Nowhere in Sicily is the development of the new Baroque...  Guess a valid title for it!
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The answer is:
Sicilian Baroque


Problem: Given the question: Given the below context:  Susan Miller works as a girdle salesgirl in a big department store. She dreams of living on "the other side", among the rich. An elderly woman, calling herself Mrs. Maybelle Worthington, comes to buy some underwear. She is actually a professional swindler. Her partner Warren meets her at the department store, and reports that her "daughter" (a partner in their schemes) has run away to get married. They notice that Susan resembles the "daughter", and ask her to impersonate the missing girl at their party that evening. Susan sees an opportunity to experience life among the rich, and wear the expensive clothes she could never afford. From that day on, Susan becomes "Linda Worthington" and accompanies "Mother Worthington" and "Uncle Warren" in their travels. They use her to attract marriageable young rich men, whom they swindle. One day in Southern California, they encounter John Wheeler, and overhear his plan to buy a yacht for $15,000. They take him for a millionaire, and use "Linda" to lure him into one of their swindles. But John is actually an accountant, who has carefully saved the $15,000 out of his limited income. This time Susan/Linda falls in love with the intended victim, and it's hard for them to find their way to happiness.  Guess a valid title for it!
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The answer is:
Rings on Her Fingers


Problem: Given the question: Given the below context:  After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a...  Guess a valid title for it!
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The answer is:
L'Orfeo