Problem: Background: Charles Bartholomew "Chuck" Bass is a fictional character in the novel and television series Gossip Girl. In the TV series, he is portrayed by English actor Ed Westwick. Although he is a secondary antagonist in the original book series, the TV series elevates him to an anti-heroic main character, where he is noted for his financial ambition, hedonism and personal style.
Context: Chuck grew up on the Upper East Side with his three best friends and fellow elites Nate Archibald, Blair Waldorf, and future-stepsister Serena van der Woodsen. His father is Bart Bass, a self-made billionaire, which is irregular, compared to the Bass' old money friends. Chuck is often described as the "bad boy of his circle." Chuck is a playboy and womanizer who sees women as recreational tools. Chuck frequently skips class and smokes cannabis.  In the pilot episode, Chuck attempts to rape both Serena and Jenny Humphrey. When speaking about Serena in the pilot episode, Chuck says, "Serena looked effin' hot last night. There's something wrong with that level of perfection. It needs to be violated." With time, he attenuates his behaviors as a sexual predator and becomes more of a manipulating womanizer, however, his lecherous attitude continues as he makes multiple advances on his step-sister at the time, Serena.  In episode seven, "Victor/Victrola", Chuck purchases a burlesque club, Victrola. After Nate and Blair break up, Blair visits Chuck at Victrola where she ends up performing on stage. She later loses her virginity to him in the back of his limousine. Though she tries to deny the encounter, Chuck buys a necklace for her and admits that he feels "butterflies" in her presence, leading to a clandestine sexual relationship. Despite this, Nate and Blair rekindle their relationship, leading to a jealous Chuck revealing to the anonymous "Gossip Girl" that Blair and Chuck had a sexual relationship. This leads Chuck to have a temporary rift with both Blair and Nate.  As Bart Bass and Lily van der Woodsen's relationship progresses, they decide to move their families in together. Chuck and Eric van der Woodsen, Lily's son and Serena's younger brother, become especially close. When Serena begins receiving mysterious packages (pornography in the mail, alcohol delivered to her at school), she automatically blames Chuck. Given the creepy remarks Chuck has made about "bathing together" and "turning that onepiece into a no-piece." Serena is not to blame. Bart subsequently forces Chuck to move out of the family home. Serena discovers that the culprit was actually Georgina Sparks, a past classmate of both Serena and Chuck. It is later revealed that Chuck lost his virginity to Georgina in the sixth grade. Chuck and Blair join together to prevent Georgina from further harming and embarrassing Serena. This process rekindles their bond, and they succeed in getting rid of Georgina.  At Bart and Lily's wedding at the end of Season 1, Chuck apologizes and confesses to Nate that he was in love with Blair. During the wedding reception, Chuck gives a speech about forgiveness that is implied to be directed towards Blair. She accepts his apology and the two kiss. However, as they are about to embark on a trip to Tuscany together, Chuck gets cold feet. Blair leaves for Tuscany without him, as Chuck has decided to seduce Amelia, tossing the roses for Blair in the trash can.
Question: What does Chuck do when he gets cold feet?
Answer: Blair leaves for Tuscany without him, as Chuck has decided to seduce Amelia, tossing the roses for Blair in the trash can.

Problem: Background: Jeanette Anna MacDonald (June 18, 1903 - January 14, 1965) was an American singer and actress best remembered for her musical films of the 1930s with Maurice Chevalier (The Love Parade, Love Me Tonight, The Merry Widow and One Hour With You) and Nelson Eddy (Naughty Marietta, Rose-Marie, and Maytime). During the 1930s and 1940s she starred in 29 feature films, four nominated for Best Picture Oscars (
Context: Unlike Nelson Eddy, who came from opera to film, MacDonald in the 1940s yearned to reinvent herself in opera. She began training for this goal with Lotte Lehmann, one of the leading opera stars of the early 20th century.  "When Jeanette MacDonald approached me for coaching lessons", wrote Lehmann, "I was really curious how a glamorous movie star, certainly spoiled by the adoration of a limitless world, would be able to devote herself to another, a higher level of art. I had the surprise of my life. There couldn't have been a more diligent, a more serious, a more pliable person than Jeanette. The lessons which I had started with a kind of suspicious curiosity, turned out to be sheer delight for me. She studied Marguerite with me--and lieder. These were the ones which astounded me most. I am quite sure that Jeanette would have developed into a serious and successful lieder singer if time would have allowed it."  MacDonald made her opera debut singing Juliette in Gounod's Romeo et Juliette in Montreal at His Majesty's Theatre (May 8 and 10, 1943). She quickly repeated the role in Quebec City (May 12), Ottawa, and Toronto. Her U.S. debut with the Chicago Opera Company (November 4, 11 and 15, 1944) was in the same role. She also sang Marguerite in Gounod's Faust with the Chicago Opera. In November 1945, she did two more performances of Romeo et Juliette and one of Faust in Chicago, and two Fausts for the Cincinnati Opera. On December 12, 1951, she did one performance of Faust with the Philadelphia Civic Grand Opera Company at the Academy of Music.  Claudia Cassidy, the music critic of the Chicago Tribune wrote: "Her Juliet is breathtakingly beautiful to the eye and dulcet to the ear." The same critic reviewed Faust: "From where I sit at the opera, Jeanette MacDonald has turned out to be one of the welcome surprises of the season... her Marguerite was better than her Juliet...beautifully sung with purity of line and tone, a good trill, and a Gallic inflection that understood Gounod's phrasing....You felt if Faust must sell his soul to the devil, at least this time he got his money's worth."
Question: What other operas did she sing?
Answer:
On December 12, 1951, she did one performance of Faust with the Philadelphia Civic Grand Opera Company at the Academy of Music.