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: As life in Paris returned to normal, in June 1871, Bizet's appointment as chorus-master at The Opéra was seemingly confirmed by its director, Émile Perrin. Bizet was due to begin his duties in October, but on 1 November, the post was assumed by Hector Salomon. In her biography of Bizet, Mina Curtiss surmises that he either resigned or refused to take up the position as a protest against what he thought was the director's unjustified closing of Ernest Reyer's opera Erostrate after only two performances. Bizet resumed work on Clarissa Harlowe and Grisélidis, but plans for the latter to be staged at the Opéra-Comique fell through, and neither work was finished; only fragments of their music survive. Bizet's other completed works in 1871 were the piano duet entitled Jeux d'enfants, and a one-act opera, Djamileh, which opened at the Opéra-Comique in May 1872. It was poorly staged and incompetently sung; at one point the leading singer missed 32 bars of music. It closed after 11 performances, not to be heard again until 1938. On 10 July Geneviève gave birth to the couple's only child, a son, Jacques.
Bizet's next major assignment came from Carvalho, who was now managing Paris' Vaudeville theatre and wanted incidental music for Alphonse Daudet's play L'Arlésienne. When the play opened on 1 October, the music was dismissed by critics as too complex for popular taste. However, encouraged by Reyer and Massenet, Bizet fashioned a four-movement suite from the music, which was performed under Pasdeloup on 10 November to an enthusiastic reception. In the winter of 1872–73, Bizet supervised preparations for a revival of the still-absent Gounod's Roméo et Juliette at the Opéra-Comique. Relations between the two had been cool for some years, but Bizet responded positively to his former mentor's request for help, writing: "You were the beginning of my life as an artist. I spring from you".In June 1872, Bizet informed Galabert: "I have just been ordered to compose three acts for the Opéra-Comique. [Henri] Meilhac and [Ludovic] Halévy are doing my piece". The subject chosen for this project was Prosper Mérimée's short novel, Carmen. Bizet began the music in the summer of 1873, but the Opéra-Comique's management was concerned about the suitability of this risqué story for a theatre that generally provided wholesome entertainment, and work was suspended. Bizet then began composing Don Rodrigue, an adaptation of the El Cid story by Louis Gallet and Édouard Blau. He played a piano version to a select audience that included the Opéra's principal baritone Jean-Baptiste Faure, hoping that the singer's approval might influence the directors of the Opéra to stage the work. However, on the night of 28–29 October, the Opéra burned to the ground; the directors, amid other pressing concerns, set Don Rodrigue aside. It was never completed; Bizet later adapted a theme from its final act as the basis of his 1875 overture, Patrie.
What is the last name of the person who either resigned or refused to take up the position as a protest against what he thought was the director's unjustified closing of Ernest Reyer's opera?