Problem: Read the following paragraph and extract the answer for the question: What is the full name of the person who was generally believed to be conducting a love affair with the composer during the months of rehearsals?  The search for a singer-actress to play Carmen began in the summer of 1873. Press speculation favoured Zulma Bouffar, who was perhaps the librettists' preferred choice. She had sung leading roles in many of Offenbach's operas, but she was unacceptable to Bizet and was turned down by du Locle as unsuitable. In September an approach was made to Marie Roze, well known for previous triumphs at the Opéra-Comique, the Opéra and in London. She refused the part when she learned that she would be required to die on stage. The role was then offered to Célestine Galli-Marié, who agreed to terms with du Locle after several months' negotiation. Galli-Marié, a demanding and at times tempestuous performer, would prove a staunch ally of Bizet, often supporting his resistance to demands from the management that the work should be toned down. At the time it was generally believed that she and the composer were conducting a love affair during the months of rehearsal.The leading tenor part of Don José was given to Paul Lhérie, a rising star of the Opéra-Comique who had recently appeared in works by Massenet and Delibes. He would later become a baritone, and in 1887 sang the role of Zurga in the Covent Garden premiere of Les pêcheurs de perles. Jacques Bouhy, engaged to sing Escamillo, was a young Belgian-born baritone who had already appeared in demanding roles such as Méphistophélès in Gounod's Faust and as Mozart's Figaro. Marguerite Chapuy, who sang Micaëla, was at the beginning of a short career in which she was briefly a star at London's Theatre Royal, Drury Lane; the impresario James H. Mapleson thought her "one of the most charming vocalists it has been my pleasure to know". However, she married and left the stage altogether in 1876, refusing Mapleson's considerable cash inducements to return.

A: Célestine Galli-Marié


Problem: Read the following paragraph and extract the answer for the question: What were the last names of the critics who compared Deal's work with the Pixies?  The album was generally well received. Several music critics favorably compared the album to Deal's work with the Pixies, among which were William Van Meter, Rob Sheffield, and Steve Kandell of Spin. Kandell and Sheffield mentioned tracks including "Fortunately Gone" as superior to songs by that group. Kandell noted Pod appealed to fans of the Pixies' "Gigantic", which was written and sung by Deal. In AllMusic, Heather Phares described Pod as a "vibrantly creative debut" that was better than the Pixies' 1990 album Bossanova, and argued that the Pixies should have recorded more of Deal's compositions.The Rough Guide to Rock's Piers Clifton and Melody Maker's Simon Reynolds viewed Pod as lacking energy in comparison to the Pixies' work. To Clifton, it was "plodding", while Reynolds felt it sounded "inhibited, moribund, stilted" and "never [let] it rip like the Pixies". Reynolds added that "Whenever a song gathers momentum or thrust, [the Breeders] throw in a weird bit, a gear change or an abrupt stop. They seem unhappy with the idea of simple rock exuberance." Steve Taylor of The A to X of Alternative Music also found Pod inferior to music of the Pixies, but was impressed with Deal's ability to move from bass to guitar.Some reviews found Pod under-developed or insubstantial. Jon Dolan in Blender likened it to a poorly-constructed building. Robert Christgau of The Village Voice described it unfavorably as more "art project" than the work of a band, and Greg Sandow in Entertainment Weekly felt the lyrics were sometimes forced.Wif Stenger of Trouser Press called the first side "a bit shaky" but considered side 2 to be "damn near perfect". NME's Steve Lamacq described the album as "a tight-ish piece of tantalising rock", and said that listeners who found it too minimalist would soon warm to it. Karen Schoemer of The New York Times praised Pod's intelligence and originality.

A: Van Meter


Problem: Read the following paragraph and extract the answer for the question: What books of the Bible are the prescribed readings for the feast day taken from?  Erschallet, ihr Lieder is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (Acts 2:1–13), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (John 14:23–31). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "Gott will sich die Seelen zu Tempeln bereiten" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "Wer mich liebet, der wird mein Wort halten" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "Komm, Heiliger Geist, Herre Gott", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium"....

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