Question: Given the below context:  Philip Arnold Heseltine (30 October 1894 – 17 December 1930), known by the pseudonym Peter Warlock, was a British composer and music critic. The Warlock name, which reflects Heseltine's interest in occult practices, was used for all his published musical works. He is best known as a composer of songs and other vocal music; he also achieved notoriety in his lifetime through his unconventional and often scandalous lifestyle. As a schoolboy at Eton College, Heseltine met the British composer Frederick Delius, with whom he formed a close friendship. After a failed student career in Oxford and London, Heseltine turned to musical journalism, while developing interests in folk-song and Elizabethan music. His first serious compositions date from around 1915. Following a period of inactivity, a positive and lasting influence on his work arose from his meeting in 1916 with the Dutch composer Bernard van Dieren; he also gained creative impetus from a year spent in Ireland, studying Celtic culture and language. On his return to England in 1918, Heseltine began composing songs in a distinctive, original style, while building a reputation as a combative and controversial music critic.  During 1920–21 he edited the music magazine The Sackbut. His most prolific period as a composer came in the 1920s, when he was based first in Wales and later at Eynsford in Kent. Through his critical writings, published under his own name, Heseltine made a pioneering contribution to the scholarship of early music. In addition, he produced a full-length biography of Frederick Delius and wrote, edited, or otherwise assisted the production of several other books and pamphlets. Towards the end of his life, Heseltine became depressed by a loss of his creative inspiration. He died in his London flat of coal gas poisoning in 1930, probably by his own hand.  Guess a valid title for it!
Answer: Peter Warlock

Question: Given the below context:  The Rokeby Venus (; also known as The Toilet of Venus, Venus at her Mirror, Venus and Cupid, or  La Venus del espejo) is a painting by Diego Velázquez, the leading artist of the Spanish Golden Age.  Completed between 1647 and 1651, and probably painted during the artist's visit to Italy, the work depicts the goddess Venus in a sensual pose, lying on a bed and looking into a mirror held by the Roman god of physical love, her son Cupid. The painting is in the National Gallery, London. Numerous works, from the ancient to the baroque, have been cited as sources of inspiration for Velázquez. The nude Venuses of the Italian painters, such as Giorgione's Sleeping Venus (c. 1510) and Titian's Venus of Urbino (1538), were the main precedents. In this work, Velázquez combined two established poses for Venus: recumbent on a couch or a bed, and gazing at a mirror. She is often described as looking at herself on the mirror, although this is physically impossible since viewers can see her face reflected in their direction. This phenomenon is known as the Venus effect. In a number of ways the painting represents a pictorial departure, through its central use of a mirror, and because it shows the body of Venus turned away from the observer of the painting.The Rokeby Venus is the only surviving female nude by Velázquez. Nudes were extremely rare in seventeenth-century Spanish art, which was policed actively by members of the Spanish Inquisition. Despite this, nudes by foreign artists were keenly collected by the court circle, and this painting was hung in the houses of Spanish courtiers until 1813, when it was brought to England to hang in Rokeby Park, Yorkshire. In 1906, the painting was purchased by National Art Collections Fund for the National Gallery, London. Although it was attacked and badly damaged in 1914 by the suffragette Mary Richardson, it soon was fully restored and returned to display.  Guess a valid title for it!
Answer: Rokeby Venus

Question: Given the below context:  In his personaggi listed in the 1609 score, Monteverdi unaccountably omits La messaggera (the Messenger), and indicates that the final chorus of shepherds who perform the moresca (Moorish dance) at the opera's end are a separate group (che fecero la moresca nel fine). Little information is available about who sang the various roles in the first performance. A letter published at Mantua in 1612 records that the distinguished tenor and composer Francesco Rasi took part, and it is generally assumed that he sang the title role. Rasi could sing in both the tenor and bass ranges "with exquisite style ... and extraordinary feeling". The involvement in the premiere of a Florentine castrato, Giovanni Gualberto Magli, is confirmed by correspondence between the Gonzaga princes. Magli sang the prologue, Proserpina and possibly one other role, either La messaggera or Speranza. The musicologist and historian Hans Redlich mistakenly allocates Magli to the role of Orfeo.A clue about who played Euridice is contained in a 1608 letter to Duke Vincenzo. It refers to "that little priest who performed the role of Euridice in the Most Serene Prince's Orfeo". This priest was possibly Padre Girolamo Bacchini, a castrato known to have had connections to the Mantuan court in the early 17th century. The Monteverdi scholar Tim Carter speculates that two prominent Mantuan tenors, Pandolfo Grande and Francesco Campagnola may have sung minor roles in the premiere.There are solo parts for four shepherds and three spirits. Carter calculates that through the doubling of roles that the text allows, a total of ten singers—three sopranos, two altos, three tenors and two basses—is required for a performance, with the soloists (except Orfeo) also forming the chorus. Carter's suggested role-doublings include La musica with Euridice, Ninfa with Proserpina and La messaggera with Speranza.  Guess a valid title for it!
Answer:
L'Orfeo