Problem: Given the question: What is the name of the person that found temporary exile in England?  Answer the above question based on the context below:  In 1870, concerned at the dominance of German music and the lack of opportunity for young French composers to have their works played, Saint-Saëns and Romain Bussine, professor of singing at the Conservatoire, discussed the founding of a society to promote new French music. Before they could take the proposal further, the Franco-Prussian War broke out. Saint-Saëns served in the National Guard during the war. During the brief but bloody Paris Commune that followed, his superior at the Madeleine, the Abbé Deguerry, was murdered by rebels; Saint-Saëns was fortunate to escape to temporary exile in England where he arrived in May 1871. With the help of George Grove and others he supported himself while there, giving recitals. Returning to Paris in the same year, he found that anti-German sentiments had considerably enhanced support for the idea of a pro-French musical society. The Société Nationale de Musique, with its motto, "Ars Gallica", had been established in February 1871, with Bussine as president, Saint-Saëns as vice-president and Henri Duparc, Fauré, Franck and Jules Massenet among its founder-members. As an admirer of Liszt's innovative symphonic poems, Saint-Saëns enthusiastically adopted the form; his first "poème symphonique" was Le Rouet d'Omphale (1871), premiered at a concert of the Sociéte Nationale in January 1872. In the same year, after more than a decade of intermittent work on operatic scores, Saint-Saëns finally had one of his operas staged. La princesse jaune ("The Yellow Princess"), a one-act, light romantic piece, was given at the Opéra-Comique, Paris in June. It ran for five performances.Throughout the 1860s and early 1870s, Saint-Saëns had continued to live a bachelor existence, sharing a large fourth-floor flat in the Rue du Faubourg Saint-Honoré with his mother. In 1875, he surprised many by marrying. The groom was approaching forty and his bride was nineteen; she was Marie-Laure Truffot, the sister of one of the composer's pupils. The marriage was not a success. In the words of the...
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The answer is:
Saint-Saëns
input question: What is the full name of the person whose son was the 2nd Baron Coleraine?  Answer the above question based on the context below:  Hugh Hare (1606–1667) had inherited a large amount of money from his great-uncle Sir Nicholas Hare, Master of the Rolls. On the death of his father, his mother had remarried Henry Montagu, 1st Earl of Manchester, allowing the young Hugh Hare to rise rapidly in Court and social circles. He married Montagu's daughter by his first marriage and purchased the manor of Tottenham, including the Lordship House, in 1625, and was ennobled as Baron Coleraine shortly thereafter.As he was closely associated with the court of Charles I, Hare's fortunes went into decline during the English Civil War. His castle at Longford and his house in Totteridge were seized by Parliamentary forces, and returned upon the Restoration in a severe state of disrepair. Records of Tottenham from the period are now lost, and the ownership and condition of the Lordship House during the Commonwealth of England are unknown. Hugh Hare died at his home in Totteridge in 1667, having choked to death on a bone eating turkey while laughing and drinking, and was succeeded by his son Henry Hare, 2nd Baron Coleraine.???
output answer: Hugh Hare
Please answer this: What is the last name of the person that notes the large amount of locales in the opera written by the man who had practical experience in orchestra pits as a young man?  Answer the above question based on the context below:  In the view of his biographer Hugh Macdonald, Massenet's main influences were Gounod and Thomas, with Meyerbeer and Berlioz also important to his style. From beyond France he absorbed some traits from Verdi, and possibly Mascagni, and above all Wagner. Unlike some other French composers of the period, Massenet never fell fully under Wagner's spell, but he took from the earlier composer a richness of orchestration and a fluency in treatment of musical themes.Although when he chose, Massenet could write noisy and dissonant scenes – in 1885 Bernard Shaw called him "one of the loudest of modern composers" – much of his music is soft and delicate. Hostile critics have seized on this characteristic, but the article on Massenet in the 2001 edition of Grove's Dictionary of Music and Musicians observes that in the best of his operas this sensual side "is balanced by strong dramatic tension (as in Werther), theatrical action (as in Thérèse), scenic diversion (as in Esclarmonde), or humour (as in Le portrait de Manon)."Massenet's Parisian audiences were greatly attracted by the exotic in music, and Massenet willingly obliged, with musical evocations of far-flung places or times long past. Macdonald lists a great number of locales depicted in the operas, from ancient Egypt, mythical Greece and biblical Galilee to Renaissance Spain, India and Revolutionary Paris. Massenet's practical experience in orchestra pits as a young man and his careful training at the Conservatoire equipped him to make such effects without much recourse to unusual instruments. He understood the capabilities of his singers, and composed with close, detailed regard for their voices.
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Answer:
Macdonald