Q: Given the below context:  Elizabeth Masterson, a young emergency medicine physician whose work is her whole life, is in a serious car accident while on her way to a blind date. Three months later, David Abbott, a landscape architect recovering from the sudden death of his wife, moves into the apartment that had been Elizabeth's, after 'discovering' it in what seems to be a fateful happenstance. Elizabeth's spirit begins to appear to David in the apartment with ghostly properties and abilities that make it clear that something is not right. She can suddenly appear and disappear, walk or move through walls and objects, and once takes over his actions. When they meet, they are both surprised, as Elizabeth is still unaware of her recent history and refuses to think she is dead. David tries to have her spirit exorcised from the apartment, but to no avail. Since only David can see and hear her, others think that he is hallucinating and talking to himself. David and Elizabeth begin to bond, as much as that is possible, and he takes her out of town to a beautiful landscaped garden he designed. Elizabeth tells him she senses she has been there before, and in fact, the garden was something she was dreaming of in the opening scenes of the film, where she was awakened by a colleague from cat-napping after working a 23-hour shift in the hospital. Together, assisted by a psychic bookstore clerk, Darryl, Elizabeth and David find out who she is, what happened to her, and why they are connected. She is not dead, but in a coma, her body being kept on life support at the hospital where she used to work. When David discovers that in accordance with her living will, she will soon be allowed to die, he tries to prevent this by telling Elizabeth's sister, Abby, that he can see her and what the situation involves. One of Elizabeth's young nieces is revealed to be able to sense her presence as well.  Guess a valid title for it!
A: Just like Heaven (film)


Question: Given the below context:  In the latter years of the 20th century the opera was a regular feature in many European cities, and was still breaking new ground; in 1990 it made its debut at the Slovak National Theatre in Bratislava. Vienna saw it for the first time in 1994, at the Vienna Volksoper, in what John Rockwell in the New York Times described as "an awkwardly updated production", though well performed. The opera had not so far proved particularly popular in the United States, where since the Met premiere of 1916, performances had been rare compared with Europe. Lyric Opera of Chicago staged it in 1966, but waited until 1998 before reviving it. In 1980 the New York City Opera mounted a production based on the 1863 edition, and staged it again in 1983 and 1986. Reviewing the 1986 production, Henahan wrote that despite the inept libretto the work was saved by the "melodic suppleness and warmth" of Bizet's score.San Diego Opera first staged the work in 1993, but it was this company's 2004 production, designed by Zandra Rhodes, that generated new levels of enthusiasm for the opera throughout the United States. In the following few years this production was shown in seven other U.S. opera houses; in October 2008 James C. Whitson, in Opera News, reported that worldwide, "between 2007 and 2009, half of all major production of the piece have been or will be ... in the U.S.". San Diego's director, Ian Campbell, suggested that his company's 2004 production was "created at a time when it seemed many U.S. opera companies were looking for a not-too-expensive production with melody, and a little off the beaten track .... [Our] Les pêcheurs de perles fitted the bill. In January 2008 the opera received its first performance in Sri Lanka, the land of its setting. The conductor, Benjamin Levy, directed a large group of singers and musicians, mostly young and local.  In October 2010, after an interval of more than 120 years, the opera was reintroduced to London's Royal Opera House. Two concert performances were given using a new edition of the...  Guess a valid title for it!
Answer: Les pêcheurs de perles


[Q]: Given the below context:  Half-witted longtime friends Albert, Isaac, Mozart "Mo" (DJ Durano), Michaelangelo "Mike" (Martin Escudero) and  Aristotle "Aris" (Marvin Agustin) were used to living moronic yet pretty normal and hassle-free lives until successful careerwoman Beckie Pamintuan accused them of killing her father and ruin everything for them. The Moron 5 are more than sure of their innocence but for the life of them, they can't find any single satisfactory argument on how to prove it especially when their opponent would do everything to punish them for whim. Spending three miserable years in prison trying different failed comedic attempts to get out, they finally figured a way to escape. They stalked Beckie and tried to understand why she's fighting so hard to have them imprisoned when it's clear as day that what happened three years ago was a nonsense frame-up. An opportunity came when Beckie's driver got fired for having an affair with her maid and Albert volunteered to apply to replace him. He infiltrated the Pamintuan Residence and together with his four crazily daft friends, they've gathered information about the curious family yet to them, it isn't making any sense at all especially Vecky's unexplained hatred to the five of them. Why is Beckie fighting so hard to have them suffer? The Moron 5 will try harder to know and hopefully understand what's really going on although little did they know that by doing so, everything that they hold dear might be at risk.  Guess a valid title for it!
****
[A]: Moron 5 and the Crying Lady


Question: Given the below context:  Monteux's first high-profile conducting experience came in 1895, when he was barely 20 years old. He was a member of the orchestra engaged for a performance of Saint-Saëns's oratorio La lyre et la harpe, to be conducted by the composer. At the last minute Saint-Saëns judged the player engaged for the important and difficult organ part to be inadequate and, as a celebrated virtuoso organist, decided to play it himself. He asked the orchestra if any of them could take over as conductor; there was a chorus of "Oui – Monteux!". With great trepidation, Monteux conducted the orchestra and soloists including the composer, sight-reading the score, and was judged a success.Monteux's musical career was interrupted in 1896, when he was called up for military service. As a graduate of the Conservatoire, one of France's grandes écoles, he was required to serve only ten months rather than the three years generally required. He later described himself as "the most pitifully inadequate soldier that the 132nd Infantry had ever seen". He had inherited from his mother not only her musical talent but her short and portly build and was physically unsuited to soldiering.Returning to Paris after discharge, Monteux resumed his career as a violist. Hans Richter invited him to lead the violas in the Bayreuth Festival orchestra, but Monteux could not afford to leave his regular work in Paris. In December 1900 Monteux played the solo viola part in Berlioz's Harold in Italy, rarely heard in Paris at the time, with the Colonne Orchestra conducted by Felix Mottl. In 1902 he secured a junior conducting post at the Dieppe casino, a seasonal appointment for the summer months which brought him into contact with leading musicians from the Paris orchestras and well-known soloists on vacation. By 1907 he was the principal conductor at Dieppe, in charge of operas and orchestral concerts. As an orchestral conductor he modelled his technique on that of Arthur Nikisch, under whose baton he had played, and who was his ideal conductor.  Guess a valid title for it!
Answer:
Pierre Monteux