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.

Example Input: Passage: The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier.
The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera", although neither Scottish Opera nor the Welsh National Opera opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company, Opera North.
Example Output: What name did the company that was  titled "Sadler's Wells Opera" eventually change its name to?

Example Input: Passage: Good Girl Gone Bad received generally favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 72 based on 17 reviews. Uncut called it a "shiny, trans-atlantic blend of Europop vim, R&B grit and Caribbean bounce." Andy Kellman of AllMusic deemed it quintessential pop music and said each of its tracks was a potential hit. Quentin B. Huff of PopMatters praised the album, describing it as "more raw, perhaps edgier and more risqué" than Rihanna's previous material. Kelefa Sanneh of The New York Times wrote that the album "sounds as if it were scientifically engineered to deliver hits". Peter Robinson of The Observer commended her collaborators for "masking her own shortcomings" and commented that, "While Rihanna lacks her peers' charisma, she's a great vessel for exhilarating mainstream pop." Pitchfork Media's Tom Breihan found the album varied and satisfying. Neil Drumming of Entertainment Weekly felt that, although it "goes bad when Rihanna tries her hand at treacly ballads and glum sentiment", at times Good Girl Gone Bad is a "thrilling throwback to more than a decade ago, when upstart producers haphazardly mashed R&B with hip-hop to create chunky jeep anthems such as Mary J. Blige's 'Real Love'."In a mixed review, Rodney Dugue of The Village Voice felt that the album "never settles on a sound" and only cited its three Timbaland-produced songs as highlights. Although he found the ballads to be improvements from Rihanna's previous albums, Slant Magazine's Sal Cinquemani criticized the lyrics, particularly those written by Justin Timberlake, as an "Achilles' high heel for Rihanna". Alex Macpherson of The Guardian found Rihanna to be "ill-suited" for its dance-pop songs and stated, "The gimmicky samples and pounding beats bury her personality, and the summery reggae of her first two albums is sorely missed." Robert Christgau of MSN Music cited "Umbrella" as a "choice cut", indicating "a good song on an album that isn't worth your time or money".
Example Output: What is the full name of the man who found the album that had Timbaland produce on it to have ballads that were improvements from the last album?

Example Input: Passage: The NSWCA were outraged by Lord Harris's letter and convened a special meeting to consider their response and subsequently had their honorary secretary, Mr J.M. Gibson, write to The Daily Telegraph in reply.  Gibson argued that "the misconduct of those who took possession of the wickets has been exaggerated" and that Lord Harris's account was "universally regarded here as both inaccurate and ungenerous." The letter said that "We cannot allow a libel upon the people of New South Wales so utterly unfounded as this to pass without challenge". It went on to accuse Harris of omitting certain facts in his account, which according to the NSWCA, depicted Australia and the cricket authorities in a poor light. These included an accusation that Harris had failed to note that the NSWCA and the media had immediately and strongly condemned the disturbance and treatment of the English visitors. Gibson also criticised Lord Harris for claiming that Coulthard was "competent", while "admitting 'he had made two mistakes in our innings'", especially as Coulthard's not out ruling against Lord Harris "was openly admitted by his lordship to be a mistake" that favoured the Englishmen. The letter further denied the claim that those who incited the riot were associated with the NSWCA and accused Harris of inflammatory conduct during the disorder.
Certainly the conduct of Lord Harris did not tend to calm the general excitement. His lordship elbowed his way out through the crowd in a manner so violent as to invite assault. He kept his men 'exposed to the fury of the mob' for about an hour and a half upon the absurd and insulting plea that if he did not 'the other side would claim the match!'. But not one of the team received a scratch, and Mr. Hornby dragged a supposed offender of very diminutive stature through the mass to the pavilion, a hundred yards away, in triumph, and amidst general applause, with only a torn shirt as the penalty of his heroism.
Spofforth, Australia's leading bowler, commented on the incident in an 1891 cricket magazine interview, but put a different slant on the cause. He thought that the English team were victims of intercolonial rivalry between New South Wales and Victoria:
Then the crowd could stand it no longer and rushed on to the field, refusing to budge until the umpire was removed. I have no wish to dwell on this painful occurrence, but I should like to point out that the feeling aroused was almost entirely due to the spirit of the rivalry between the Colonies ... The umpire was Victorian, and the party spirit in the crowd was too strong, 'Let an Englishman stand umpire,' they cried; 'we don't mind any of them. We won't have a Victorian.' There was not the slightest animosity against Lord Harris or any of his team; the whole disturbance was based on the fact that the offender was a Victorian. But Lord Harris stood by his umpire; and as a result, the match had to be abandoned till the following day.
Example Output:
What is the profession of Coulthard?