In theater and music history, a burletta (Italian, meaning "little joke", sometimes burla or burlettina) is a brief comic opera.
 In eighteenth-century Italy, a burletta was the comic intermezzo between the acts of an "opera seria".
 The extended work Pergolesi's "La serva padrona" was also designated a "burletta" at its London premiere in 1750.
Pimpinone, TWV 21:15, is a comic opera by the German composer Georg Philipp Telemann with a libretto by Johann Philipp Praetorius.
 Its full title is "Die Ungleiche Heirat zwischen Vespetta und Pimpinone oder Das herrsch-süchtige Camer Mägden" ("The Unequal Marriage Between Vespetta and Pimpinone or The Domineering Chambermaid").
 The work is described as a "Lustiges Zwischenspiel" ("comic intermezzo") in three parts.
 It was first performed at the Oper am Gänsemarkt in Hamburg on 27 September 1725 as light relief between the acts of Telemann's adaptation of Handel's opera seria "Tamerlano".
 "Pimpinone" was highly successful and pointed the way forward to later intermezzi, particularly Giovanni Battista Pergolesi's "La serva padrona".
Gennaro Antonio Federico (died Naples, 1744) was a Neapolitan poet and opera librettist.
 He is best remembered for his collaborations with G. B. Pergolesi including La serva padrona.
Der Bärenhäuter is an 1899 German-language opera by Siegfried Wagner based on the German folk tale Der Bärenhäuter, or the Bearskin man.
 As with most of Siegfried Wagner's operas it is more influenced by his teacher Humperdinck than his father Richard Wagner's operas.
The Poacher (German: Der Wildschütz or Die große Schuld) is a 1953 Austrian-German drama film directed by Alfred Lehner and starring Renate Mannhardt, Kurt Heintel and Karl Fischer.
This is a list of operas by Argentine composers.
 Argentina's first native born opera composer was Francisco Hargreaves (1849-1900) who composed "La gatta bianca" (1875) and "Los estudiantes de Bologna" (1897), followed by Zenón Rolón (1856-1902) who composed several operas as well as operettas and zarzuelas.
 The works of many of the composers from this generation were first performed outside Argentina.
 Native Argentine opera was to develop much more with the massive European (mainly Italian) immigration in the late 19th century and even more with the opening of the Teatro Colón in 1908 where most of the 20th century operas listed here had their world premieres.
 Some of the first operas to treat Argentine subjects or national themes were Arturo Berutti's "Pampa" (1897) based on the life of Juan Moreira and "Yupanki" (1899) based on the life of Inca warrior Manqu Inka Yupanki.
 Also notable in this genre were Felipe Boero's "Tucumán" (1918) set during the Battle of Tucumán and "El matrero" (1929).
 Considered by many to be the quintessential Argentine opera, "El matrero" had a libretto based on gaucho folk tradition and incorporated Argentine folk melodies and a traditional gaucho dance.
 The Spanish playwright Federico García Lorca was also the inspiration for several Argentine operas.
 His plays, "La zapatera prodigiosa" and "Bodas de sangre", were the basis of operas by Juan José Castro, while Osvaldo Golijov's 2003 opera "Ainadamar" is based on events in the playwright's life.
Der Wildschütz oder Die Stimme der Natur ("The Poacher, or The Voice of Nature") is a German "Komische Oper", or comic opera, in three acts by Albert Lortzing from a libretto by the composer adapted from the comedy "Der Rehbock, oder Die schuldlosen Schuldbewussten" by August von Kotzebue.
 It had its premiere at the Stadttheater in Leipzig on 31 December 1842.
Il prigionier superbo ("The Proud Prisoner") is an "opera seria" in three acts composed by Giovanni Battista Pergolesi to a libretto attributed to Gennaro Antonio Federico and based on an earlier libretto by Francesco Silvani for Gasparini's opera, "La fede tradita e vendicata".
 It was premiered at the Teatro San Bartolomeo in Naples on 5 September 1733 and received further performances in October.
 The opera, with its labyrinthine plot involving the rivalry of Metalce (King of the Goths) and Viridate (Prince of Denmark) for the hand of Rosmene (a Norwegian princess whose father is Metalce's prisoner), soon sank into oblivion, but its comic intermezzo, "La serva padrona" (also by Pergolesi) was to achieve considerable success when performed on its own.
La serva padrona (The Servant Turned Mistress) is an opera buffa by Giovanni Battista Pergolesi (1710 – 1736) to a libretto by Gennaro Antonio Federico, after the play by Jacopo Angello Nelli.
 The opera is only 45 minutes long and was originally performed as an intermezzo between the acts of a larger serious opera.
 (The same libretto was set by Giovanni Paisiello in 1781.)
Chamber opera is a designation for operas written to be performed with a chamber ensemble rather than a full orchestra.
 Early 20th century operas of this type include Paul Hindemith's "Cardillac" (1926).
 Earlier small-scale operas such as Pergolesi's "La serva padrona" (1733) are sometimes known as chamber operas.

Question: Are "La serva padrona" and "Der Wildschütz" both operas?
Answer: yes