Please answer this: What was the name of the person that shattered the tranquil sounds of the duet?  Answer the above question based on the context below:  The prelude to act 1 combines three recurrent themes: the entry of the bullfighters from act 4, the refrain from the Toreador Song from act 2, and the motif that, in two slightly differing forms, represents both Carmen herself and the fate that she personifies. This motif, played on clarinet, bassoon, cornet and cellos over tremolo strings, concludes the prelude with an abrupt crescendo. When the curtain rises a light and sunny atmosphere is soon established, and pervades the opening scenes. The mock solemnities of the changing of the guard, and the flirtatious exchanges between the townsfolk and the factory girls, precede a mood change when a brief phrase from the fate motif announces Carmen's entrance. After her provocative habanera, with its persistent insidious rhythm and changes of key, the fate motif sounds in full when Carmen throws her flower to José before departing. This action elicits from José a passionate A major solo that Dean suggests is the turning-point in his musical characterisation. The softer vein returns briefly, as Micaëla reappears and joins with José in a duet to a warm clarinet and strings accompaniment. The tranquillity is shattered by the women's noisy quarrel, Carmen's dramatic re-entry and her defiant interaction with Zuniga. After her beguiling "Seguidilla" provokes José to an exasperated high A sharp shout, Carmen's escape is preceded by the brief but disconcerting reprise of a fragment from the habanera. Bizet revised this finale several times to increase its dramatic effect. Act 2 begins with a short prelude, based on a melody that José will sing offstage before his next entry. A festive scene in the inn precedes Escamillo's tumultuous entrance, in which brass and percussion provide prominent backing while the crowd sings along. The quintet that follows is described by Newman as "of incomparable verve and musical wit". José's appearance precipitates a long mutual wooing scene; Carmen sings, dances and plays the castanets; a distant cornet-call summoning José to duty is...
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Answer: Carmen
Problem: What is the name of the artist who later altered the traces of earlier working?  Answer the above question based on the context below:  The painting was referred to in the earliest inventories as La Familia ("The Family"). A detailed description of Las Meninas, which provides the identification of several of the figures, was published by Antonio Palomino ("the Giorgio Vasari of the Spanish Golden Age") in 1724. Examination under infrared light reveals minor pentimenti, that is, there are traces of earlier working that the artist himself later altered. For example, at first Velázquez's own head inclined to his right rather than his left.The painting has been cut down on both the left and right sides. It was damaged in the fire that destroyed the Alcázar in 1734, and was restored by court painter Juan García de Miranda (1677–1749). The left cheek of the Infanta was almost completely repainted to compensate for a substantial loss of pigment. After its rescue from the fire, the painting was inventoried as part of the royal collection in 1747–48, and the Infanta was misidentified as Maria Theresa, Margaret Theresa's older half-sister, an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, The Family of Philip IV, which was repeated in the  records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as Las Meninas.In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and white pigments in the costumes of the meninas have faded. It was last cleaned in 1984 under the supervision of the American conservator John Brealey, to remove a "yellow veil" of dust that had gathered since the previous restoration in the 19th century. The cleaning provoked, according to the art historian Federico Zeri, "furious protests, not because the picture had been damaged in any way, but because it looked different". However, in the opinion of López-Rey, the...

A: Velázquez's
Q: What cast included Norman Bailey, Rita Hunter and Alberto Remedios?  Answer the above question based on the context below:  The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's Don Giovanni, directed by Sir John Gielgud. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by Lord Harewood.The success of the 1968 Mastersingers was followed in the 1970s by the company's first Ring cycle, conducted by Goodall, with a new translation by Andrew Porter and designs by Ralph Koltai.  The cast included Norman Bailey, Rita Hunter and Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the Ring, Prokofiev's War and Peace, and Richard Strauss's Salome and Der Rosenkavalier. The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from The House of the Dead to Patience." Among the operas he conducted for the company were Handel's Julius Caesar starring Janet Baker and Valerie Masterson; five Janáček operas; The Marriage of Figaro with pioneering use of 18th century performing style; Massenet's Werther; Donizetti's Mary Stuart with Baker; and Sullivan's Patience. The company took the production of the last to the Vienna Festival in 1975, along with Britten's Gloriana. Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979, Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive".A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi drivers kept on taking their patrons up to Rosebery Avenue".Harewood...
A:
the company's first Ring cycle