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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.

Passage: Claudio Monteverdi, born in Cremona in 1567, was a musical prodigy who studied under Marc'Antonio Ingegneri, the  maestro di cappella (head of music) at Cremona Cathedral. After training in singing, strings playing and composition, Monteverdi worked as a musician in Verona and Milan until, in 1590 or 1591, he secured a post as suonatore di vivuola (viola player) at Duke Vincenzo Gonzaga's court at Mantua. Through ability and hard work Monteverdi rose to become Gonzaga's maestro della musica (master of music) in 1601.Vincenzo Gonzaga's particular passion for musical theatre and spectacle grew from his family connections with the court of Florence. Towards the end of the 16th century innovative Florentine musicians were developing the intermedio—a long-established form of musical interlude inserted between the acts of spoken dramas—into increasingly elaborate forms. Led by Jacopo Corsi, these successors to the renowned Camerata were responsible for the first work generally recognised as belonging to the genre of opera: Dafne, composed by Corsi and Jacopo Peri and performed in Florence in 1598. This work combined elements of madrigal singing and monody with dancing and instrumental passages to form a dramatic whole. Only fragments of its music still exist, but several other Florentine works of the same period—Rappresentatione di Anima, et di Corpo by Emilio de' Cavalieri, Peri's Euridice and Giulio Caccini's identically titled Euridice—survive complete. These last two works were the first of many musical representations of the Orpheus myth as recounted in Ovid's Metamorphoses, and as such were direct precursors of Monteverdi's L'Orfeo.The Gonzaga court had a long history of promoting dramatic entertainment. A century before Duke Vincenzo's time the court had staged Angelo Poliziano's lyrical drama La favola di Orfeo, at least half of which was sung rather than spoken. More recently, in 1598 Monteverdi had helped the court's musical establishment produce Giovanni Battista Guarini's play Il pastor fido, described by theatre historian Mark Ringer as a "watershed theatrical work" which inspired the Italian craze for pastoral drama. On 6 October 1600, while visiting Florence for the wedding of Maria de' Medici to King Henry IV of France, Duke Vincenzo attended a production of Peri's Euridice. It is likely that his principal musicians, including Monteverdi, were also present at this performance. The Duke quickly recognised the novelty of this new form of dramatic entertainment, and its potential for bringing prestige to those prepared to sponsor it.
Output:
What are the specific titles of the two separate works with identical names that were the first of many musical representations of the Orpheus myth as recounted in Ovid's Metamorphoses?