Given the below context:  The one-act opera genre had become increasingly popular in Italy following the 1890 competition sponsored by publisher Edoardo Sonzogno for the best such work, which was won by the young Pietro Mascagni's Cavalleria rusticana. With Tosca essentially completed by November 1899, Puccini sought a new project. Among sources he considered, before proceeding with Madama Butterfly, were three works by French dramatist Alphonse Daudet that Puccini thought might be made into a trilogy of one-act operas.After Butterfly premiered in 1904, Puccini again had difficulty finding a new subject. He further considered the idea of composing three one-act operas to be performed together, but found his publisher, Giulio Ricordi, firmly opposed to such a project, convinced that it would be expensive to cast and produce. The composer then planned to work with his longtime librettist, Giuseppe Giacosa, on an opera about Marie Antoinette, a project frustrated by the librettist's illness. Puccini wrote in November 1905, "Will we go back to it? [Maria Antonietta] If I find three one-act works that suit me, I'll put off M.A."  Puccini pursued neither project, as Giacosa's illness led to his death in September 1906.In March 1907, Puccini wrote to Carlo Clausetti, Ricordi's representative in Naples, proposing three one-act operas based on scenes from stories by Russian novelist Maxim Gorky. By May the composer had set aside this proposal to concentrate on the project which became La fanciulla del West, although he did not wholly abandon the idea of a multiple-opera evening. His next idea in this vein, some years later, was for a two-opera bill, one tragic and one comic; he later expanded this to include a third opera with a mystic or religious tone. By November 1916 Puccini had completed the "tragic" element, which became Il tabarro, but he still lacked ideas for the other two works. He considered staging Il tabarro in combination with his own early work Le Villi, or with other two-act operas which might be used to round out the evening's...  Guess a valid title for it!
Ans: Gianni Schicchi

Given the below context:  Lying within the historic county boundaries of Lancashire since the early 12th century, Ashton anciently constituted a "single parish-township", but was divided into four divisions (sometimes each styled townships): Ashton Town, Audenshaw, Hartshead, and Knott Lanes. Ashton Town was granted a Royal Charter in 1414, granting it the right to hold a market. All four divisions lay within the Hundred of Salford, an ancient division of the county of Lancashire. In 1827, police commissioners were established for Ashton Town, tasked with bringing about social and economic improvement. In 1847, this area was incorporated under the Municipal Corporations Act 1835, as a municipal borough with the name "Ashton-under-Lyne", giving it borough status. When the administrative county of Lancashire was created by the Local Government Act 1888, the borough fell under the newly created Lancashire County Council. The borough's boundaries changed during the late 19th century through small exchanges of land with the neighbouring districts of Oldham, Mossley, Dukinfield, and Stalybridge. In the early 20th century, the Borough of Ashton-under-Lyne grew; Hurst Urban District was added in 1927, parts of Hartshead and Alt civil parishes in 1935, and parts of Limehurst Rural District in 1954. Since 1956, Ashton has been twinned with Chaumont, France.Under the Local Government Act 1972, the town's borough status was abolished, and Ashton has, since 1 April 1974, formed part of the Metropolitan Borough of Tameside, within the metropolitan county of Greater Manchester. Ashton-under-Lyne is divided into four wards: Ashton Hurst, Ashton St. Michaels, Ashton St Peters and Ashton Waterloo. As of the 2012 local elections, all twelve seats are held by Labour councillors.Since the Reform Act 1832 the town has been represented in Parliament as part of the Ashton-under-Lyne parliamentary constituency. During its early years the constituency was represented in the House of Commons by members of the Liberal Party until the late 19th century, when it...  Guess a valid title for it!
Ans: Ashton-under-Lyne

Given the below context:  Pretty and shy young Georgia farmgirl Claudelle Inglish, the daughter of a poor sharecropper Clyde Inglish and his wife Jessie, starts dating the poor neighbor, handsome farmboy Linn Varner during the spring of their senior year in high school. Claudelle and Linn instantly hit it off together, and soon they fall in love. Her mother objects to the relationship, fearing Claudelle will end up in the same rut she is, being married to a poor farmer, resulting in a stormy marriage. Claudelle is forced to endure her parents' many arguments stemming from Jessie's unhappiness having to be married to Clyde, a poor but hard-working farmer. At the same time, rich middle-aged portly landowner S.T. Crawford, who owns the farm where the Inglish family live, begins to secretly eye up Claudelle. Despite her mother's protests, Linn wins her dad's approval by helping him on the farm. Shortly before graduation, Linn takes Claudelle to a neighborhood carnival where he wins her a musical dancing doll. That same night, Linn asks Claudelle to marry him and she happily says yes. Linn gets drafted into the army, and he and Claudelle are spending their last night together before Linn's departure at the senior prom. The two leave the dance to go for a walk, where Claudelle tells Linn her fears about him being away in the army for two years and how she is afraid they will never be together again. Linn calms her fears by promising her he will marry her the day he comes home from the service. Claudelle, still fearing Linn leaving her, has him make love to her that night in the woods.  Guess a valid title for it!
Ans: Claudelle Inglish