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.

Input: Consider Input: Passage: The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously.After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then unpublished Mass of 1880. The final scene in the act is a juxtaposition of the sacred and the profane, as Scarpia's lustful reverie is sung alongside the swelling Te Deum chorus. He joins with the chorus in the final statement "Te aeternum Patrem omnis terra veneratur" ("Everlasting Father, all the earth worships thee"), before the act ends with a thunderous restatement of the Scarpia motif.

Output: What is the name of the opera that the first of the "Grand Tunes" is "Recondita armonia"?


Input: Consider Input: Passage: As Opeth's primary songwriter and lyricist, vocalist/guitarist Mikael Åkerfeldt heads the direction of Opeth's sound. He was influenced at a young age by the 1970s progressive rock bands King Crimson, Yes, Genesis, Camel, P.F.M., Hawkwind, and Gracious, and by heavy metal bands such as Iron Maiden, Slayer, Death, Black Sabbath, Deep Purple, Celtic Frost, King Diamond, Morbid Angel, Voivod, and, most importantly, Judas Priest. Åkerfeldt considers Judas Priest's Sad Wings of Destiny (1976) the best metal album of all time, and notes that there was a time when he listened only to Judas Priest. While warming up before Opeth concerts, Åkerfeldt frequently sings "Here Come the Tears" from Judas Priest's third album Sin After Sin (1977). Åkerfeldt later discovered progressive rock and folk music, both of which had a profound impact on the sound of the band.Opeth's distinct sound mixes death metal with progressive rock. Steve Huey of AllMusic refers to Opeth's "epic, progressive death metal style". Ryan Ogle of Blabbermouth described Opeth's sound as incorporating "the likes of folk, funk, blues, '70s rock, goth and a laundry list of other sonic oddities into their trademark progressive death style." In his review of Opeth's 2001 album Blackwater Park, AllMusic's Eduardo Rivadavia wrote, "Tracks start and finish in seemingly arbitrary fashion, usually traversing ample musical terrain, including acoustic guitar and solo piano passages, ambient soundscapes, stoner rock grooves, and Eastern-tinged melodies—any of which are subject to savage punctuations of death metal fury at any given moment." Åkerfeldt commented on the diversity of Opeth's music:
I don't see the point of playing in a band and going just one way when you can do everything. It would be impossible for us to play just death metal; that is our roots, but we are now a mishmash of everything, and not purists to any form of music. It's impossible for us to do that, and quite frankly I would think of it as boring to be in a band that plays just metal music. We're not afraid to experiment, or to be caught with our pants down, so to speak. That's what keeps us going.
More recently, Opeth have abandoned their death metal sound resulting in a mellower progressive rock sound. When talking about Heritage, guitarist Fredrik Åkesson stated:
In the beginning it took me a little while to get used to the new idea of the sound, not having any screaming vocals and stuff like that.  But I think the album was necessary for us to do. Maybe the band wouldn't have continued if we hadn't done Heritage.  I think the old Opeth fans understand this album. There's always going to be some haters, but you can't be loved by everyone. Opeth has always been about not repeating ourself. A lot of people don't think Heritage is metal but I think it's metal to go somewhere people don't expect. It doesn't mean we're not embracing the past sound of Opeth.

Output: What is the last name of the person who was influenced at a young age by 1970s progressive rock bands?


Input: Consider Input: Passage: Michael Williams is a drifter living out of his car after being discharged from the Marine Corps. A job on an oilfield falls through due to his unwillingness to conceal a war injury on his job application, so Michael wanders into rural Red Rock, Wyoming, looking for other work. A local bar owner named Wayne mistakes him for a hit man, "Lyle from Dallas", whom Wayne has hired to kill his wife. Wayne offers him a stack of cash—"half now, half later"—and Michael plays along by taking the money.
Michael visits Wayne's wife, Suzanne and attempts to warn her that her life is in danger instead of killing her. She offers him more money to kill Wayne. Michael tries to leave town but a car accident leads him to encounter the local sheriff, who turns out to be Wayne. Michael manages to escape from Wayne but runs into the real Lyle from Dallas. Lyle and Wayne quickly figure out what has transpired, while Michael desperately tries to warn Suzanne before Lyle finds her.
The next morning, when Lyle comes to get money from Wayne, he kidnaps both Suzanne and Michael, who are trying to retrieve hidden cash from Wayne's office. Wayne and Suzanne are revealed to be wanted for embezzlement and Wayne is arrested by his own deputies. Lyle returns with Michael and Suzanne hostage and gets Wayne out of jail to retrieve their stash of money. At a remote graveyard, Wayne pulls a gun from the case of money and holds Lyle at gunpoint before Lyle throws a knife into Wayne's neck. Michael and Lyle fight, with Lyle ending up being impaled on a grave marker. When Lyle rises to attack Michael, Suzanne shoots him dead.
Michael and Suzanne escape onto a nearby train, but when Suzanne tries to betray Michael, he throws the money out of the speeding train and then throws Suzanne off to be arrested by the police accompanied by a wounded Wayne. Michael's train continues its journey into a new town.
Output: Who does the person that the drifter warns want him to kill?