Classifier Instance:

Anchor text: Job
Target Entity: Job_\u0028Biblical_figure\u0029
Preceding Context: Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of to which Cavaradossi's brief "Vittoria! Vittoria!" on the news of Napoleon's victory gives only partial relief. Scarpia's aria "Già, mi dicon venal" ("Yes, they say I am venal") is closely followed by Tosca's "Vissi d'arte". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it "a
Succeeding Context: -like prayer questioning God for punishing a woman who has lived unselfishly and righteously". In the act's finale, Newman likens the orchestral turmoil which follows Tosca's stabbing of Scarpia to the sudden outburst after the slow movement of Beethoven's Ninth Symphony. After Tosca's contemptuous "E avanti a lui tremava tutta Roma!" ("All Rome trembled before him"), sung in a middle C monotone (sometimes spoken), the music gradually fades, ending "the most impressively macabre scene in all opera." The final notes in the act are those of the Scarpia motif, softly, in a minor key.
Paragraph Title: Act 2
Source Page: Tosca

Ground Truth Types:

Predicted Types:

Type	Confidence	Decision
wordnet_artifact_100021939	-1.4566285467728626	0
wordnet_event_100029378	-0.523676708411477	0
wordnet_organization_108008335	-1.7818891129117234	0
wordnet_person_100007846	-0.032520097979336964	0
yagoGeoEntity	-2.268366477247859	0