Question: Given the below context:  The Peterloo Massacre took place at St Peter's Field, Manchester, England, on 16 August 1819, when cavalry charged into a crowd of 60,000–80,000 who had gathered to demand the reform of parliamentary representation. The end of the Napoleonic Wars in 1815 had resulted in periods of famine and chronic unemployment, exacerbated by the introduction of the first of the Corn Laws. By the beginning of 1819, the pressure generated by poor economic conditions, coupled with the relative lack of suffrage in Northern England, had enhanced the appeal of political radicalism. In response, the Manchester Patriotic Union, a group agitating for parliamentary reform, organised a demonstration to be addressed by the well-known radical orator Henry Hunt. Shortly after the meeting began, local magistrates called on the Manchester and Salford Yeomanry to arrest Hunt and several others on the hustings with him. The Yeomanry charged into the crowd, knocking down a woman and killing a child, and finally apprehending Hunt. The 15th Hussars were then summoned by the magistrate, Mr Hulton, to disperse the crowd. They charged with sabres drawn, and in the ensuing confusion, 18 people were killed and 400–700 were injured. The massacre was given the name Peterloo in an ironic comparison to the Battle of Waterloo, which had taken place four years earlier. Historian Robert Poole has called the Peterloo Massacre one of the defining moments of its age. In its own time, the London and national papers shared the horror felt in the Manchester region, but Peterloo's immediate effect was to cause the government to crack down on reform, with the passing of what became known as the Six Acts. It also led directly to the foundation of the Manchester Guardian, but had little other effect on the pace of reform. In a survey conducted by The Guardian in 2006, Peterloo came second to the Putney Debates as the event from radical British history that most deserved a proper monument or a memorial. Peterloo is commemorated by a plaque close to the site, a...  Guess a valid title for it!
Answer: Peterloo Massacre

Question: Given the below context:  Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias. Puccini saw Sardou's play when it was touring Italy in 1889 and, after some vacillation, obtained the rights to turn the work into an opera in 1895. Turning the wordy French play into a succinct Italian opera took four years, during which the composer repeatedly argued with his librettists and publisher. Tosca premiered at a time of unrest in Rome, and its first performance was delayed for a day for fear of disturbances. Despite indifferent reviews from the critics, the opera was an immediate success with the public. Musically, Tosca is structured as a through-composed work, with arias, recitative, choruses and other elements musically woven into a seamless whole. Puccini used Wagnerian leitmotifs to identify characters, objects and ideas. While critics have often dismissed the opera as a facile melodrama with confusions of plot—musicologist Joseph Kerman called it a "shabby little shocker"—the power of its score and the inventiveness of its orchestration have been widely acknowledged. The dramatic force of Tosca and its characters continues to fascinate both performers and audiences, and the work remains one of the most frequently performed operas. Many recordings of the work have been issued, both of studio and live performances.  Guess a valid title for it!
Answer: Tosca

Question: Given the below context:  As far as we know, the earliest cantatas of Johann Sebastian Bach were performed in Mühlhausen from 1706 to 1708. He was employed as an organist there, but he occasionally composed cantatas, mostly for special occasions. The cantatas were based mainly on biblical texts and hymns, such as Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 (a psalm setting), and the Easter chorale cantata Christ lag in Todes Banden, BWV 4. Bach was next appointed organist and chamber musician in Weimar on 25 June 1708 at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August. He initially concentrated on the organ, composing major works for the instrument, including the Orgelbüchlein, the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. He was promoted to Konzertmeister on 2 March 1714, an honour that entailed performing a church cantata monthly in the Schlosskirche. The first cantatas he composed in the new position were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, Weinen, Klagen, Sorgen, Zagen, BWV 12 for Jubilate Sunday, and Erschallet, ihr Lieder, BWV 172, for Pentecost. Mostly inspired by texts by the court poet, Salomo Franck, they contain recitatives and arias. When Johann Samuel Drese, the Kapellmeister (director of music), died in 1716, Bach hoped in vain to become his successor. Bach looked for a better position and found it as Kapellmeister at the court of Leopold, Prince of Anhalt-Köthen. However, the duke in Weimar did not dismiss him and arrested him for disobedience. He was released on 2 December 1717.In Köthen, Bach found an employer who was an enthusiastic musician himself. The court was Calvinist, therefore Bach's work from this period was mostly secular, including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos. He composed secular cantatas for the court for occasions such as New Year's Day and the prince's birthday, including Die Zeit, die Tag und Jahre macht, BWV...  Guess a valid title for it!
Answer:
Jesus nahm zu sich die Zwölfe, BWV 22