[Q]: Given the below context:  The Same Scene, One Year Later, with the Ruins Restored Under Thespis's direction, Olympus has been restored to its former splendour, and the Thespians enjoy ambrosia and nectar.  Thespis's rule is very liberal, and he has advised his troupe not to "be hampered by routine and red tape and precedent".  The celestial assignments, however, have caused some difficulties, as the romantic entanglements of the actors in real life conflict with those of the gods that they are playing. Venus, played by Pretteia, is supposed to be married to Mars, but the actor playing Mars is her father. A possible solution is discovered in Venus having actually married Vulcan, but Vulcan is her grandfather.  Sparkeion, who took on the role of Apollo, accompanies his wife, Nicemis, who plays Diana, on her nightly duties, so that the sun is up during the night. Mercury informs Thespis that the substitute gods have received many complaints from mortals because some are not performing their functions, and others' ill-judged experiments have wreaked havoc in the world below.  For instance, Timidon, the replacement for Mars, is a pacifist and a coward; the substitute for Hymen refuses to marry anyone; and the ersatz Pluto is too tenderhearted to let anyone die.  Daphne, who plays the muse Calliope, comes to Thespis and claims, based on a bowdlerised edition of the Greek myths, that Calliope was married to Apollo.  She points out that Apollo, played by Sparkeion, is the brother of Diana (played by Sparkeion's wife, Nicemis).  Thespis decides that Sparkeion is married to Daphne while they are gods, but his marriage to Nicemis will resume when they are mortals once again. When the gods return, they are furious and tell Thespis that he has "deranged the whole scheme of society".  Thespis says that they should calm down, as the list of mortals' complaints is about to be read.  The gods watch incognito as Mercury presents the complaints: The actors have ruined the weather; caused strife among the nations; and there is no wine, since Bacchus is a...  Guess a valid title for it!
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[A]: Thespis (opera)


[Q]: Given the below context:  St Peter's Field was a croft (an open piece of land) alongside Mount Street which was being cleared to enable the last section of Peter Street to be constructed. Piles of brushwood had been placed at the end of the field nearest to the Friends Meeting House, but the remainder of the field was clear. Thomas Worrell, Manchester's Assistant Surveyor of Paving, arrived to inspect the field at 7:00 am. His job was to remove anything that might be used as a weapon, and he duly had "about a quarter of a load" of stones carted away.Monday, 16 August 1819, was a hot summer's day, with a cloudless blue sky. The fine weather almost certainly increased the size of the crowd significantly; marching from the outer townships in the cold and rain would have been a much less attractive prospect.The Manchester magistrates met at 9:00 am, to breakfast at the Star Inn on Deansgate and to consider what action they should take on Henry Hunt's arrival at the meeting. By 10:30 am they had come to no conclusions, and moved to a house on the southeastern corner of St Peter's Field, from where they planned to observe the meeting. They were concerned that it would end in a riot, or even a rebellion, and had arranged for a substantial number of regular troops and militia yeomanry to be deployed. The military presence comprised 600 men of the 15th Hussars; several hundred infantrymen; a Royal Horse Artillery unit with two six-pounder  guns; 400 men of the Cheshire Yeomanry; 400 special constables; and 120 cavalry of the Manchester and Salford Yeomanry. The Manchester & Salford Yeomanry were relatively inexperienced militia recruited from among local shopkeepers and tradesmen, the most numerous of which were publicans. Recently mocked by the Manchester Observer as "generally speaking, the fawning dependents of the great, with a few fools and a greater proportion of coxcombs, who imagine they acquire considerable importance by wearing regimentals, they were subsequently variously described as "younger members of the Tory party in arms", and...  Guess a valid title for it!
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[A]: Peterloo Massacre


[Q]: Given the below context:  Inside the church of Sant'Andrea della Valle Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The elderly Sacristan enters and begins cleaning. The Sacristan kneels in prayer as the Angelus sounds. The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti's sister the Marchesa). Cavaradossi describes the "hidden harmony" ("Recondita armonia") in the contrast between the blonde beauty of his painting and his dark-haired lover, the singer Floria Tosca. The Sacristan mumbles his disapproval before leaving. Angelotti emerges and tells Cavaradossi, an old friend who has republican sympathies, that he is being pursued by the Chief of Police, Baron Scarpia. Cavaradossi promises to assist him after nightfall. Tosca's voice is heard, calling to Cavaradossi. Cavaradossi gives Angelotti his basket of food and Angelotti hurriedly returns to his hiding place. Tosca enters and suspiciously asks Cavaradossi what he has been doing – she thinks that he has been talking to another woman. Cavaradossi reassures her and Tosca tries to persuade him to take her to his villa that evening: "Non la sospiri, la nostra casetta" ("Do you not long for our little cottage"). She then expresses jealousy over the woman in the painting, whom she recognises as the Marchesa Attavanti. Cavaradossi explains the likeness; he has merely observed the Marchesa at prayer in the church. He reassures Tosca of his fidelity and asks her what eyes could be more beautiful than her own: "Qual'occhio al mondo" ("What eyes in the world"). After Tosca has left, Angelotti reappears and discusses with the painter his plan to flee disguised as a woman, using...  Guess a valid title for it!
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[A]:
Tosca