Question: How many acts are in both  Lucia di Lammermoor and La buona figliuola?
Context: La dame blanche ("The White Lady") is an opéra comique in three acts by the French composer François-Adrien Boieldieu.  The libretto was written by Eugène Scribe and is based on episodes from no fewer than five works of the Scottish writer Sir Walter Scott, including his novels "The Monastery", "Guy Mannering", and "The Abbot".  The opera has typical elements of the Romantic in its Gothic mode, including an exotic Scottish locale, a lost heir, a mysterious castle, a hidden fortune, and a ghost, in this case benevolent.  The work was one of the first attempts to introduce the fantastic into opera and is a model for works such as Giacomo Meyerbeer's "Robert le diable" and Charles Gounod's "Faust".  The opera's musical style also heavily influenced later operas like "Lucia di Lammermoor", "I puritani" and "La jolie fille de Perth". Salt Marsh Opera is a U.S. non-profit opera company that performs across southern Connecticut and Rhode Island.  Founded in 2000 and based in Stonington, Connecticut, Salt Marsh Opera has offered productions of "Madama Butterfly", "Tosca", "Cosi fan tutte", "The Mikado", "La bohème", "La traviata", "Il barbiere di Siviglia", and "Lucia di Lammermoor".  It also stages full-dress rehearsals and hosts lectures and soirees to expand public appreciation of opera. Harolyn Blackwell (born November 23, 1955) is an American lyric coloratura soprano who has performed in many of the world's finest opera houses, concert halls, and theaters in operas, oratorios, recitals, and Broadway musicals.  Initially known for her work within musical theater during the early 1980s, Blackwell moved into the field of opera and by 1987 had established herself as an artist within the soubrette repertoire in many major opera houses both in the United States and in Europe.  Feeling that she was being "type cast" into one particular kind of role, Blackwell strove to establish herself within the lyric coloratura repertoire beginning in the mid-1990s.  With the aid of such companies as Seattle Opera, Blackwell successfully made this move and is now an interpreter of such roles as Lucia in Donizetti's "Lucia di Lammermoor" and Olympia in Offenbach's "Les contes d'Hoffman".  She has also periodically returned to musical theater performances throughout her career in staged productions, concert work, and recitals.  Blackwell is known for her interpretations and recordings of the works of Leonard Bernstein. Lucia di Lammermoor is a "dramma tragico" (tragic opera) in three acts by Gaetano Donizetti.  Salvadore Cammarano wrote the Italian-language libretto loosely based upon Sir Walter Scott's historical novel "The Bride of Lammermoor". Longformacus (Scottish Gaelic: "Longphort Mhacais" ) is a small village in Berwickshire in the Scottish Borders area of Scotland.  It is around 10 km north-west of Duns, in the Lammermuir Hills.  The Dye Water runs through the village, flowing east towards its confluence with the Whiteadder Water nearby.  The opera "Lucia di Lammermoor", written by Gaetano Donizetti and based on Sir Walter Scott's "The Bride of Lammermoor", was set in Longformacus. Christian Van Horn (born 1978 in Rockville Centre, New York) is an American operatic bass-baritone and has appeared with many of the world's most prestigious opera companies, including San Francisco Opera, The Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper, Teatro dell'Opera di Roma, Netherlands Opera, Salzburg Festival, Los Angeles Opera, The Grand Théâtre du Genève, and Canadian Opera Company.  His roles include the title role in Le nozze di Figaro, the Four Villains in Les Contes d'Hoffmann, Mephistopheles in Faust, Zaccaria in Nabucco, Escamillo in Carmen, Raimondo in Lucia di Lammermoor, Banquo in Macbeth, Colline in La Bohème, and Claudio in Aggrippina.  Van Horn has also appeared as a concert soloist with the Berlin Philharmonic, Chicago Symphony Orchestra, San Francisco Symphony.  Melbourne Symphony Orchestra, and the Los Angeles Philharmonic among others. La buona figliuola ("The Good-Natured Girl" or "The Accomplish'd Maid"), or La Cecchina ("Cecchina"), is an opera buffa in three acts by Niccolò Piccinni.  The libretto, by Carlo Goldoni, is based on Samuel Richardson's novel "Pamela".  This was Piccinni's most successful Italian opera.  There was a sequel entitled "La buona figliuola maritata" (1761) by the same composer and librettist.  "La buona figliuola supposta vedova" by Gaetano Latilla followed in 1766. Loretta Di Franco is an American operatic soprano who is chiefly known for her more than 900 performances at the Metropolitan Opera from 1961-1995.  Originally a member of the Met's opera chorus, she eventually was promoted to singing small comprimario roles beginning with one of the pages in Wagner's "Tannhäuser" and the peasant girl in "The Marriage of Figaro" in 1961.  She went on to win the Metropolitan Opera National Council Auditions in 1965 which led to her first substantial role, Chloe in "The Queen of Spades".  She continued to appear annually at the Met for the next 30 years, performing both leading and supporting roles.  Some of the parts she performed at the Met included Annina in "La traviata", both the Aunt and Barena in Janáček's "Jenůfa", Barbarina and Marcellina in "The Marriage of Figaro", Berta in "The Barber of Seville", Countess Ceprano in "Rigoletto", the Dew Fairy and the Sandman in "Hansel and Gretel", Feklusa in "Káťa Kabanová", the First Lady in "The Magic Flute", the Flower Seller in Britten's "Death in Venice", Frasquita in "Carmen", Gerhilde in "Die Walküre", Giannetta in "L'elisir d'amore", Helen in "Mourning Becomes Electra", Ines in "Il trovatore", Jouvenot in "Adriana Lecouvreur", Kate Pinkerton in "Madama Butterfly", Laura in "Luisa Miller", Lauretta in "Gianni Schichi", Lisa in "La sonnambula", Marianne in "Der Rosenkavalier", Marthe in "Faust", Musetta in "La bohème", Oscar in "Un ballo in maschera", Samaritana in "Francesca da Rimini", Woglinde in both "Das Rheingold" and "Götterdämmerung", Xenia in "Boris Godunov", Zerlina in "Don Giovanni", and title role in "Lucia di Lammermoor".  In 1991 she created the role of the Woman with Child in the world premiere of John Corigliano's "The Ghosts of Versailles". The Bride of Lammermoor is an historical novel by Sir Walter Scott, published in 1819.  The novel is set in the Lammermuir Hills of south-east Scotland, and tells of a tragic love affair between young Lucy Ashton and her family's enemy Edgar Ravenswood.  Scott indicated the plot was based on an actual incident.  "The Bride of Lammermoor" and "A Legend of Montrose" were published together as the third of Scott's "Tales of My Landlord" series.  As with all the Waverley Novels, "The Bride of Lammermuir" was published anonymously.  The novel claims that the story was an oral tradition, collected by one "Peter Pattieson", and subsequently published by "Jedediah Cleishbotham".  The 1830 "Waverley edition" includes an introduction by Scott, discussing his actual sources.  The later edition also changes the date of the events: the first edition sets the story in the 17th century; the 1830 edition sets it in the reign of Queen Anne, after the 1707 Acts of Union which joined Scotland and England.  The story is the basis for Donizetti's 1835 opera "Lucia di Lammermoor". In 1841, while Donizetti was in Paris waiting for the libretto to be completed for a commission by La Scala, he had a chance encounter with Gustave Vaëz, who had co-written the libretti for two of his earlier operas, "Lucie de Lammermoor" (the French version of "Lucia di Lammermoor") and "La favorite".  He asked Vaëz if he could provide a libretto for a short opera to keep him busy while waiting for the La Scala project to advance.  Vaëz quickly created "Deux hommes et une femme" ("Two Men and a Woman"), a comic piece in one act consisting of eight musical numbers connected by spoken dialogue.  According to Vaëz, Donizetti completed the score in eight days.  However, the Opéra-Comique rejected it and Donizetti then had the libretto translated into Italian for an intended performance at the Teatro del Fondo in Naples.  Following the death of the Teatro del Fondo's impresario, Domenico Barbaja, the Naples performance fell through.  The score, still unperformed, was found in Donizetti's effects when he died in 1848.
Answer: three