Given the following context:  In 1889, Emma Cons, a Victorian philanthropist who ran the Old Vic theatre in a working-class area of London, began presenting regular fortnightly performances of opera excerpts. Although the theatre licensing laws of the day prevented full costumed performances, Cons presented condensed versions of well-known operas, always sung in English. Among the performers were noted singers such as Charles Santley. These operatic evenings quickly became more popular than the dramas that Cons had been staging separately. In 1898, she recruited her niece Lilian Baylis to help run the theatre. At the same time she appointed Charles Corri as the Old Vic's musical director. Baylis and Corri, despite many disagreements, shared a passionate belief in popularising opera, hitherto generally the preserve of the rich and fashionable. They worked on a tiny budget, with an amateur chorus and a professional orchestra of only 18 players, for whom Corri rescored the instrumental parts of the operas. By the early years of the 20th century, the Old Vic was able to present semi-staged versions of Wagner operas.Emma Cons died in 1912, leaving her estate, including the Old Vic, to Baylis, who dreamed of transforming the theatre into a "people's opera house". In the same year, Baylis obtained a licence to allow the Old Vic to stage full performances of operas. In the 1914–1915 season, Baylis staged 16 operas and 16 plays (13 of which were by Shakespeare). In the years after the First World War, Baylis's Shakespeare productions, which featured some of the leading actors from London's West End, attracted national attention, as her shoe-string opera productions did not. The opera, however, remained her first priority. The actor-manager Robert Atkins, who worked closely with Baylis on her Shakespearean productions, recalled, "Opera, on Thursday and Saturday nights, played to bulging houses."  answer the following question:  What is the last name of the person Emma Cons recruited?
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Answer: Baylis


Given the following context:  Long ago, a young Plains warrior is tested by being the target of three different weapons.  Centuries later, Ernest P. Worrell works as a maintenance man at Kamp Kikakee but hopes to become a counselor. He quickly becomes a valuable addition to the staff, skilled at Plains Indian Sign Language, used by Kikakee's owner, Chief St. Cloud.  A small group of juvenile delinquents, the Second Chancers, come to Kikakee. Head Counselor Tipton assigns Kikakee's most experienced counselor, Ross Stennis, to be the boys' counselor. Stennis is unhappy with this assignment, and he treats the boys harshly. After he goes too far by intentionally causing Moustafa Jones, the smallest boy in the group, to nearly drown in the lake during swimming, only for Moustafa to be rescued by Ernest, the boys retaliate against Stennis's cruelty by toppling his lifeguard perch into the lake, badly injuring Stennis's leg in the process. Since Stennis is no longer able to perform his duties as a counselor and Kikakee is already shorthanded, Tipton offers Stennis's position to Ernest. The Second Chancers initially give Ernest trouble, but they start to show respect during a campfire session when Nurse St. Cloud translates her grandfather's description of the warrior initiation ritual for his tribe. The initiate must hold still while a knife, a stone hatchet, and an arrow are thrown or shot at him. The courage of the young warrior apparently alters the course of each weapon to prevent it from striking him. The Second Chancers build a tepee only to find it burned. They fight Pennington, one of the regular campers, because he was responsible. Tipton is poised to expel them, but Ernest convinces him otherwise.  answer the following question:  What's the surname of the person who tries to drown someone?
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Answer: Stennis


Given the following context:  The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910. The fusion of song and symphony had been a characteristic of Mahler's early works. In his "middle" compositional period after 1901, a change of direction led him to produce three purely instrumental symphonies. The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context. The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts. Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, Veni creator spiritus ("Come, Creator Spirit"), and Part II is a setting of the words from the closing scene of Goethe's Faust. The two parts are unified by a common idea, that of redemption through the power of love, a unity conveyed through shared musical themes. Mahler had been convinced from the start of the work's significance; in renouncing the pessimism that had marked much of his music, he offered the Eighth as an expression of confidence in the eternal human spirit. In the period following the composer's death, performances were comparatively rare. However, from the mid-20th century onwards the symphony has been heard regularly in concert halls all over the world, and has been recorded many times. While recognising its wide popularity, modern critics have divided opinions on the work; Theodor W....  answer the following question:  What is the last name of the person whose "middle" compositional period was after 1901?
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Answer:
Mahler