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: Handel's earliest opera compositions, in the German style, date from his Hamburg years, 1704–06, under the influence of Johann Mattheson. In 1706 he traveled to Italy where he remained for three years, developing his compositional skills. He first settled in Florence where he was introduced to Alessandro and Domenico Scarlatti. His first opera composed in Italy, though still reflecting the influence of Hamburg and Mattheson, was Rodrigo (1707, original title Vincer se stesso ê la maggior vittoria), was presented there. It was not particularly successful, but was part of Handel's process of learning to compose opera in the Italian style and to set Italian words to music.Handel then spent time in Rome, where the performance of opera was forbidden by Papal decree, and in Naples. He applied himself to the composition of cantatas and oratorios; at that time there was little difference (apart from increasing length) between cantata, oratorio and opera, all based on the alternation of secco recitative and aria da capo. Works from this period include Dixit Dominus and the dramatic cantata Aci, Galatea e Polifemo, written in Naples. While in Rome, probably through Alessandro Scarlatti, Handel had become acquainted with Cardinal Grimani, a distinguished diplomat who wrote libretti in his spare time, and acted as an unofficial theatrical agent for the Italian royal courts. He was evidently impressed by Handel and asked him to set his new libretto, Agrippina. Grimani intended to present this opera at his family-owned theatre in Venice, the Teatro San Giovanni Grisostomo, as part of the 1709–10 Carnevale season.

Output: What is the name of the person that traveled to Italy in 1706?


Input: Consider Input: Passage: The film presents itself as an off-air recording of television station WNUF's Halloween special that aired on October 31, 1987. The movie's main plot centers upon Frank Stewart, a television reporter that has decided to broadcast himself live as he and four other people (including the cameraman) investigate the Webber House, the site of the brutal murder of a husband and wife. Donald Webber, the suspected murderer and the couple's son, claims that he was commanded to murder his parents by demonic entities that he accidentally summoned using a Ouija board. Since that day, the house has been reported to be haunted and an anonymous police officer testifies that he and other fellow police officers have witnessed paranormal activity at the house. Frank initially treats the broadcast as a novelty, even going so far as to dismiss the concerns of paranormal investigators Louis and Claire Berger (Brian St. August and Helenmary Ball), as Claire immediately states that the house contains a menacing presence and that they are in danger as long as they are in the house. He tries to dissuade fears by bringing in Father Joseph Matheson, who Frank claims is versed in Catholic exorcism rites, despite the priest's assertion that he only has a perfunctory knowledge of the rites and has never actually performed an exorcism.

Output: What is the full name of the person who is the television reporter that brings in a priest versed in Catholic exorcism rites?


Input: Consider Input: Passage: At that time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who, the poet-philosopher Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes". Monteux believed that the trouble began when the two factions   began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Around forty of the worst offenders were ejected—possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. The unrest receded significantly during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued.Among the more hostile press reviews was that of Le Figaro's critic, Henri Quittard, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure". On the other hand, Gustav Linor, writing in the leading theatrical magazine Comoedia, thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions. Emile Raudin, of Les Marges, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element". The composer Alfredo Casella thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music, a view shared by the critic Michel-Dimitri Calvocoressi, who wrote: "The idea was excellent, but was not successfully carried out". Calvocoressi failed to observe any direct hostility to the composer—unlike, he said, the premiere of Debussy's Pelléas et Mélisande in 1902. Of later reports that the veteran composer Camille Saint-Saëns had stormed out of the premiere, Stravinsky observed that this was impossible; Saint-Saëns did not attend. Stravinsky also rejected Cocteau's story that, after the performance, Stravinsky, Nijinsky, Diaghilev and Cocteau himself took a cab to the Bois de Boulogne where a tearful Diaghilev recited poems by Pushkin. Stravinsky merely recalled a celebratory dinner with Diaghilev and Nijinsky, at which the impresario expressed his entire satisfaction with the outcome. To Maximilien Steinberg, a former fellow-pupil under Rimsky-Korsakov, Stravinsky wrote that Nijinsky's choreography had been "incomparable: with the exception of a few places, everything was as I wanted it".
Output: What is the first initial of the person who didn't believe the story that Cocteau gave about the group taking a cab?