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: After the publication of the L'Orfeo score in 1609, the same publisher (Ricciardo Amadino of Venice) brought it out again in 1615. Facsimiles of these editions were printed in 1927 and 1972 respectively. Since Eitner's first "modern" edition of L'Orfeo in 1884, and d'Indy's performing edition 20 years later—both of which were abridged and adapted versions of the 1609 score—there have been many attempts to edit and present the work, not all of them published. Most of the editions that followed d'Indy up to the time of the Second World War were arrangements, usually heavily truncated, that provided a basis for performances in the modern opera idiom. Many of these were the work of composers, including Carl Orff (1923 and 1939) and Ottorino Respighi in 1935. Orff's 1923 score, using a German text, included some period instrumentation, an experiment he abandoned when producing his later version.In the post-war period, editions have moved increasingly to reflect the performance conventions of Monteverdi's day. This tendency was initiated by two earlier editions, that of Jack Westrup used in the 1925 Oxford performances, and Gian Francesco Malipiero's 1930 complete edition which sticks closely to Monteverdi's 1609 original. After the war, Hindemith's attempted period reconstruction of the work was followed in 1955 by an edition from August Wenzinger that remained in use for many years. The next 30 years saw numerous editions, mostly prepared by scholar-performers rather than by composers, generally aiming towards authenticity if not always the complete re-creation of the original instrumentation. These included versions by Raymond Leppard (1965), Denis Stevens (1967), Nikolaus Harnoncourt (1969), Jane Glover (1975), Roger Norrington (1976) and John Eliot Gardiner. Only the composers Valentino Bucchi (1967), Bruno Maderna (1967) and Luciano Berio (1984) produced editions based on the convention of a large modern orchestra. In the 21st century editions continue to be produced, often for use in conjunction with a particular performance or recording.
What is the name of the work Hindemith's attempted period reconstruction of, was followed in 1955 by an edition from August Wenzinger?

Passage: Canadian ex-serviceman Bob Regan returns to Oldchester, the English town where he was stationed during the war, hoping to find Pat Lane, the girl he fell in love with.  He meets up with Mike Collins, an old acquaintance who now manages Oldchester United, the local football club.  He also renews his friendship with Collins' daughter Jackie.
Mike tells Bob of an odd proviso surrounding the allocation of £25,000 from the estate of a recently deceased businessman and supporter of the football club – if Oldchester United win promotion to the next division of the Football League that season the money is theirs, if not it goes to the man's nephew.  He remembers Bob as a skilful footballer, and asks him to sign up for the team to boost the promotion quest.  Bob agrees.
The nephew Nick Hammond is determined that the money will be his, and is worried that Bob's football prowess may well propel the team to on-pitch success.  He is acquainted with Pat, now living in London, and persuades her to join him in a scheme to scupper Oldchester's chances.  Knowing of Bob's fondness for Pat, and that Pat cares nothing for Bob, he proposes that if Pat can tempt Bob away from Oldchester and the football team, and the team fails in its promotion bid, he will give her a share of the inheritance.  The mercenary Pat jumps at the prospect, begins to work her charms on Bob and soon lures him to London to be with her.  He is talent-spotted by scouts, and signed up by Arsenal F.C.
What's the full name of the person the daughter of the football club manager befriends?

Passage: The film is a romantic thriller that starts off by showing a daring, well-planned robbery of a very famous and expensive painting from the MNAC art museum in Barcelona, Spain. The museum has many security features that are problematic for the thieves, but because of their skill they are able to circumvent the security and steal the famous El Greco Christ Carrying the Cross on display courtesy of Victor Boyd (Ed Lauter.)After the first heist, Sandra Walker, is called by her boss Victor Boyd and sent to Spain to ensure his El Greco is returned. Victor Boyd, the owner of the stolen El Greco, is a very rich and powerful businessman who Sandra works for as an art consultant. She is called in to find the stolen El Greco because she persuaded Victor to display it at the MNAC art museum, from which it was ultimately stolen.

While getting ready for her trip to Spain to track down the missing El Greco, the audience is given some insight into Sandra's life: She is separated from an NYPD detective, Bruce, and they have a young daughter together, Allison The couple appears to be going through a bit of a rough patch, but still seem to love each other. Sandra is able to convince her husband to watch their daughter while she's away. Bruce is skeptical of the whole situation and worried about Sandra's well-being.
Upon her arrival at the crime scene in Barcelona, Sandra is reunited with an old colleague of hers, Daniel, who was brought in to consult on the investigation. It quickly becomes apparent these two have a deep history and there are many secret feelings. The two of them make a great team and quickly narrow down the list of suspects to the ruthless Russian mobster Dimitri Maximov Dimitri is portrayed as a questionable individual who seems to be scheming some sort of master plan as the art heists continue. This plays right into Sandra and Daniel's suspicion that he is the culprit.
Whose boss sends her to retrieve a stolen painting?