Question:
James was born on December 30, 1984 in Akron, Ohio to a 16-year-old mother, Gloria Marie James, who raised him on her own. When James was growing up, life was often a struggle for the family, as they moved from apartment to apartment in the seedier neighborhoods of Akron while Gloria struggled to find steady work. Realizing that her son would be better off in a more stable family environment, Gloria allowed him to move in with the family of Frank Walker, a local youth football coach, who introduced James to basketball when he was nine years old. As a youth, James played Amateur Athletic Union (AAU) basketball for the Northeast Ohio Shooting Stars.
At the conclusion of the 2008-09 season, James finished second in NBA Defensive Player of the Year voting and made his first NBA All-Defensive Team, posting 23 chase-down blocks and a career-high 93 total blocks. He also became only the fourth postmerger player to lead his team in points, rebounds, assists, steals, and blocks in a single season. Behind his play and the acquisition of All-Star guard Mo Williams, Cleveland went a franchise record 66-16 and fell just one game short of matching the best home record in league history. With final averages of 28.4 points, 7.6 rebounds, 7.2 assists, 1.7 steals, and 1.2 blocks per game, James became the first Cavalier to win the MVP Award. Reflecting on James's performance for ESPN, John Hollinger later wrote, "He's having what is arguably the greatest individual season in history, and it's time we gave him his due for it."  In the playoffs, Cleveland swept the Pistons and the Atlanta Hawks to earn a matchup with the Orlando Magic in the Conference Finals. In Game 1 of the series, James scored 49 points on 66 percent shooting in a losing effort for the Cavaliers. In Game 2, he hit a game-winner to tie the series at 1-1. Cleveland would lose the series in six games, and following the loss in Game 6, James immediately left the floor without shaking hands with his opponents, which was an act that many media members viewed as unsportsmanlike. For the series, he averaged 38.5 points, 8.3 rebounds, and 8 assists per game, finishing the postseason with a career playoff-high 35.3 points per game.  In February of the 2009-10 season, James was forced into a temporary point guard role following a series of injuries to the Cavaliers' backcourt. Behind his leadership, Cleveland lost no momentum, finishing the year with the best record in the league for the second consecutive season. Due in part to his increased minutes as the Cavaliers' primary ball handler, James increased his statistical production, averaging 29.7 points, 7.3 rebounds, 8.6 assists, 1.6 steals, and 1 block per game on 50 percent shooting en route to another MVP Award. To open the playoffs, Cleveland advanced past the Bulls to earn a matchup with the Celtics in the second round. James was heavily criticized for not playing well in Game 5 of the series, shooting only 20 percent on 14 shots and scoring 15 points. The team suffered its worst loss in franchise history, and at the conclusion of the game, James walked off the court to a smattering of boos from Cleveland's home crowd. The Cavaliers were officially eliminated from the postseason in Game 6, with James posting 27 points, 19 rebounds, 10 assists, and nine turnovers in the losing effort.
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Afterwards, did he win more games?

Answer:
Cleveland would lose the series in six games, and following the loss in Game 6,


Question:
Giuseppe Fortunino Francesco Verdi (Italian: [dZu'zeppe 'verdi]; 9 or 10 October 1813 - 27 January 1901) was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.
The writer Friedrich Schiller (four of whose plays were adapted as operas by Verdi) distinguished two types of artist in his 1795 essay On Naive and Sentimental Poetry. The philosopher Isaiah Berlin ranked Verdi in the 'naive' category--"They are not...self-conscious. They do not...stand aside to contemplate their creations and express their own feelings....They are able...if they have genius, to embody their vision fully." (The 'sentimentals' seek to recreate nature and natural feelings on their own terms--Berlin instances Wagner--"offering not peace, but a sword.") Verdi's operas are not written according to an aesthetic theory, or with a purpose to change the tastes of their audiences. In conversation with a German visitor in 1887 he is recorded as saying that, whilst "there was much to be admired in [Wagner's operas] Tannhauser and Lohengrin...in his recent operas [Wagner] seemed to be overstepping the bounds of what can be expressed in music. For him "philosophical" music was incomprehensible." Although Verdi's works belong, as Rosselli admits "to the most artificial of genres...[they] ring emotionally true: truth and directness make them exciting, often hugely so."  That is not to say his operas did not come as great innovations. What sounds to a modern listener as derivative of the bel canto, his first major success, Nabucco, came as a something entirely new. Never before had opera been so harmonically complex and direct. No longer was there the empty vocal display of the bel canto period composers. Granted, there is a significant amount of vocal fireworks, but they exist for the purpose of drama, not to show off singers. Aside from this, his use of the chorus was entirely new. Before Nabucco, an opera's chorus was limited to be only a background voice, another instrument. In Nabucco, this is abolished; he uses the chorus as character, to show the suffering and consensus of the people. The famous "Va, pensiero" is an example of this.  The first of his "big three" operas, Rigoletto, followed by La Traviata, and ending with Il Trovatore, also was revolutionary. In a letter to Rigoletto's librettist, Francesco Maria Piave, he says, "I conceived Rigoletto almost without arias, without finales but only an unending string of duets." And that it is. Rigoletto is one of, if not the earliest operas to abandon the traditional distinction between the sung aria, and the more speech-like recitative.  After these three operas, his works took an increasing amount of time to finish, were significantly longer, and more masterfully orchestrated.
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How did he write his operas?

Answer:
Rigoletto is one of, if not the earliest operas to abandon the traditional distinction between the sung aria, and the more speech-like recitative.