In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
Q: Passage: The date for the first performance of L'Orfeo, 24 February 1607, is evidenced by two letters, both dated 23 February. In the first, Francesco Gonzaga informs his brother that the "musical play" will be performed tomorrow; it is clear from earlier correspondence that this refers to L'Orfeo. The second letter is from a Gonzaga court official, Carlo Magno, and gives more details: "Tomorrow evening the Most Serene Lord the Prince is to sponsor a [play] in a room in the apartments which the Most Serene Lady had the use of ...it should be most unusual, as all the actors are to sing their parts." The "Serene Lady" is Duke Vincenzo's widowed sister Margherita Gonzaga d'Este, who lived within the Ducal Palace. The room of the premiere cannot be identified with certainty; according to Ringer, it may have been the Galleria dei Fiumi, which has the dimensions to accommodate a stage and orchestra with space for a small audience.There is no detailed account of the premiere, although Francesco wrote on 1 March that the work had "been to the great satisfaction of all who heard it", and had particularly pleased the Duke. The Mantuan court theologian and poet, Cherubino Ferrari wrote that: "Both poet and musician have depicted the inclinations of the heart so skilfully that it could not have been done better ... The music, observing due propriety, serves the poetry so well that nothing more beautiful is to be heard anywhere". After the premiere Duke Vincenzo ordered a second performance for 1 March; a third performance was planned to coincide with a proposed state visit to Mantua by the Duke of Savoy. Francesco wrote to the Duke of Tuscany on 8 March, asking if he could retain the services of the castrato Magli for a little longer. However, the visit was cancelled, as was the celebratory performance.There are suggestions that in the years following the premiere, L'Orfeo may have been staged in Florence, Cremona, Milan and Turin, though firmer evidence suggests that the work attracted limited interest beyond the Mantuan court. Francesco may have mounted a production in Casale Monferrato, where he was governor, for the 1609–10 Carnival, and there are indications that the work was performed on several occasions in Salzburg between 1614 and 1619, under the direction of Francesco Rasi. Years later, during the first flourish of Venetian opera in 1637–43, Monteverdi chose to revive his second opera, L'Arianna there, but not L'Orfeo. There is some evidence of performances shortly after Monteverdi's death: in Geneva in 1643, and in Paris, at the Louvre, in 1647. Although according to Carter the work was still admired across Italy in the 1650s, it was subsequently forgotten, as largely was Monteverdi, until the revival of interest in his works in the late 19th century.
A:
What is the full name of the person who had use of a room in the apartments?