instruction:
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.
question:
Passage: When the ship passed Cape Adare, the direction of drift changed to north-westerly. On 10 August Stenhouse estimated that they were 45 nautical miles (83 km) north-east of the Cape, and that their daily drift was averaging just over 20 nautical miles (37 km). A few days later Stenhouse recorded that the ship was "backing and filling", meaning that it was drifting back and forth without making progress. "However, we cannot grumble and must be patient", he wrote, adding that from the crow's nest a distinct impression of open water could be seen. With the possibility that the edge of the pack was nearby, work on the construction of a jury rudder began. This first involved the removal of the wreckage of the smashed rudder, a task largely carried out by Engineer Donnelly. The jury rudder was constructed from makeshift materials, and by 26 August was ready for use as soon as Aurora cleared the ice. It would then be lowered over the stern and operated manually, "like a huge oar".
On 25 August Hooke began picking up occasional radio signals being exchanged between Macquarie Island and New Zealand. By the end of August open leads were beginning to appear, and sometimes it was possible to discern a sea-swell under the ship. Severe weather returned in September, when a hurricane-force wind destroyed the wireless aerial and temporarily halted Hooke's efforts. On 22 September, when Aurora was in sight of the uninhabited Balleny Islands, Stenhouse estimated that they had travelled over 700 nautical miles (1,300 km) from Cape Evans, in what he called a "wonderful drift". He added that regular observations and records of the nature and direction of the ice had been maintained throughout: "It [the drift] has not been in vain, and [...] knowledge of the set and drift of the pack will be a valuable addition to the sum of human knowledge".Aurora's circumstances changed little during the following months. Stenhouse worked hard to maintain morale, keeping the crew working whenever possible and organising leisure activities, including games of football and cricket on the ice. On 21 November Aurora crossed the Antarctic Circle, and it was at last evident that the ice around the ship was beginning to melt: "...one good hefty blizzard would cause a general break up", wrote Stenhouse. Christmas approached with the ice still holding firm; Stenhouse allowed the crew to prepare a feast, but noted in his journal: "I wish to God the blasted festivities were over [...] we are hogging in to the best while the poor beggars at Cape Evans have little or nothing!" A few days later the New Year was celebrated with an improvised band leading choruses of "Rule, Britannia" and "God Save the King".
answer:
What is the name of the ship whose direction of drift changed northwesterly on passing Cape Adare?


question:
Passage: The opera begins without any prelude; the opening chords of the Scarpia motif lead immediately to the agitated appearance of Angelotti and the enunciation of the "fugitive" motif. The sacristan's entry, accompanied by his sprightly buffo theme, lifts the mood, as does the generally light-hearted colloquy with Cavaradossi which follows after the latter's entrance. This leads to the first of the "Grand Tunes", Cavaradossi's "Recondita armonia" with its sustained high B flat, accompanied by the sacristan's grumbling counter-melody. The domination, in that aria, of themes which will be repeated in the love duet make it clear that though the painting may incorporate the Marchesa's features, Tosca is the ultimate inspiration of his work. Cavaradossi's dialogue with Angelotti is interrupted by Tosca's arrival, signalled by her motif which incorporates, in Newman's words, "the feline, caressing cadence so characteristic of her." Though Tosca enters violently and suspiciously, the music paints her devotion and serenity. According to Budden, there is no contradiction: Tosca's jealousy is largely a matter of habit, which her lover does not take too seriously.After Tosca's "Non la sospiri" and the subsequent argument inspired by her jealousy, the sensuous character of the love duet "Qual'occhio" provides what opera writer Burton Fisher describes as "an almost erotic lyricism that has been called pornophony". The brief scene in which the sacristan returns with the choristers to celebrate Napoleon's supposed defeat provides almost the last carefree moments in the opera; after the entrance of Scarpia to his menacing theme, the mood becomes sombre, then steadily darker. As the police chief interrogates the sacristan, the "fugitive" motif recurs three more times, each time more emphatically, signalling Scarpia's success in his investigation. In Scarpia's exchanges with Tosca the sound of tolling bells, interwoven with the orchestra, creates an almost religious atmosphere, for which Puccini draws on music from his then unpublished Mass of 1880. The final scene in the act is a juxtaposition of the sacred and the profane, as Scarpia's lustful reverie is sung alongside the swelling Te Deum chorus. He joins with the chorus in the final statement "Te aeternum Patrem omnis terra veneratur" ("Everlasting Father, all the earth worships thee"), before the act ends with a thunderous restatement of the Scarpia motif.
answer:
What is the name of the opera that the first of the "Grand Tunes" is "Recondita armonia"?


question:
Passage: 4 received positive reviews from music critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 36 reviews. Michael Cragg of The Observer called it Beyoncé's "most accomplished album yet". Slant Magazine's Eric Henderson believed 4 succeeds vocally as an album of mostly intimate and slow-tempo ballads. Mikael Wood of Spin magazine applauded its ballads, mid-tempo songs, and evocations of late 1970s and early 1980s pop-soul. In his review for Rolling Stone, Jody Rosen wrote that Beyoncé eschews contemporary production styles for a more personal and idiosyncratic album. Jon Caramanica of The New York Times viewed it as a good showcase for Beyoncé as a torch singer, because she convincingly sings about heartbreak and the strong emotional effect of love. Pitchfork critic Ryan Dombal found it easygoing, retro-informed, and engaging because it shows "one of the world's biggest stars exploring her talent in ways few could've predicted". AllMusic's Andy Kellman said that the quality of Beyoncé's singing and the songwriting compensate for the assorted arrangement of the songs. Uncut viewed it is an exceptional album in spite of occasionally trite lyrics.In a less enthusiastic review, Adam Markovitz of Entertainment Weekly said the first half of 4 is marred by boring ballads and the songwriting in general are not on-par with Beyoncé's vocal talent. In his review for The Guardian, Alexis Petridis was ambivalent towards the album's 1980s influence and argued that, despite well written songs, it is not very consequential. Time magazine's Claire Suddath said the songs lack lyrical substance, even though they are performed well. Greg Kot, writing in the Chicago Tribune, called 4 inconsistent, short, and unfinished. NME magazine's Hamish MacBain felt Beyoncé did not progress from her past work and that "even the OK bits here" sounded "uninspired".
answer:

What is the name of the publication who's critic claimed the songs on the album lack lyrical substance?


