Question: How many acts are in both Iphigénie en Aulide and  La fanciulla del West?
Context: The Girl of the Golden West is a 1938 musical western film.  It was adapted from the play of the same name by David Belasco, better known for providing the plot of the opera "La fanciulla del West" by Giacomo Puccini.  A frontier woman falls in love with an outlaw. François-Louis Gand Le Bland Du Roullet (10 April 1716 in Normanville – 2 August 1786 in Paris) was a French diplomat and playwright.  He is chiefly remembered today as the librettist of Gluck's operas "Iphigénie en Aulide" and "Alceste" (1776 French version).  He also co-wrote (with Louis-Théodore de Tschudi) the libretto for Salieri's opera "Les Danaïdes". Robin Guarino (born April 3, 1960) is an opera and film director.  She has directed operas such as "The Marriage of Figaro", "Don Giovanni", "Lohengrin", "Così fan tutte" , and "The Magic Flute" at the Metropolitan Opera.  Also, she has directed at Seattle Opera, Glimmerglass Opera, Chautauqua Opera, Virginia Opera, and Wolf Trap Opera.  She continues to direct, most recently "L'etoile" and "The Marriage of Figaro" for the Wolf Trap Opera Festival, " La Calisto", "The Magic Flute" and "Iphigénie en Aulide" for Juilliard Opera Center, and at Gotham Chamber Opera, "Il Signor Bruschino".  She currently holds the J. Ralph Corbett Distinguished Chair in Opera at the University of Cincinnati College-Conservatory of Music." Kevin Short is an American operatic bass-baritone.  A graduate of Morgan State University, the Curtis Institute of Music, and the Juilliard School, he won the bass-baritone award for the Middle Atlantic region Metropolitan Opera National Council Auditions in 1989.  From 1991-1998 he appeared annually at the Metropolitan Opera, singing in a total of 129 performances.  He notably created the role of Joseph in the world premiere of John Corigliano's "The Ghosts of Versailles" in 1991.  Some of the other roles he has performed at the Met are Colline in "La Bohème", the Friar in "Don Carlos", Happy in "La fanciulla del West", the Jailer in "Dialogues of the Carmelites", Lackey in "Ariadne auf Naxos", Mandarin in "Turandot", Masetto in "Don Giovanni", Sciarrone in "Tosca", Pirro in "I Lombardi alla prima crociata", Yamadori in "Madama Butterfly", and Zaretsky in "Eugene Onegin".  He also sang several roles with the New York City Opera during the 1980s and 1990s, including Nourabad in "The Pearl Fishers" and Raimondo in "Lucia di Lammermoor". Magdaléna Hajóssyová (born 25 July 1946, Bratislava) is a classical Slovak soprano who has had an active international career singing in operas, concerts, and recitals since the late 1960s.  She has been particularly active at the Prague State Opera where she has been a principal artist since 1972.  She has also had a long and fruitful partnership with the Berlin State Opera beginning in 1975.  In 1977, 1981, and 1987, she won the Berlin Critic's Prize for her portrayal of the roles of Margarete in Charles Gounod's "Faust", the Elektra in Mozart's "Idomeneo", Carl Maria von Weber's "Euryanthe", and Christoph Willibald Gluck's "Iphigénie en Aulide". Iphigénie en Aulide ("Iphigeneia in Aulis") is an opera in three acts by Christoph Willibald Gluck, the first work he wrote for the Paris stage.  The libretto was written by François-Louis Gand Le Bland Du Roullet and was based on Jean Racine's tragedy "Iphigénie".  It was premiered on 19 April 1774 by the Paris Opéra in the second Salle du Palais-Royal and revived in a slightly revised version the following year. The Mecklenburg State Theatre (German: "Mecklenburgisches Staatstheater Schwerin" ) is the principal theatre of Schwerin in Germany.  Its main theatre (or "Grosses Haus") seats 650 people and is used for the performance of plays, opera, musical theatre and ballet.  Designed by Georg Daniel, it was built between 1883 and 1886 after the previous theatre had been destroyed by fire in 1882.  The theatre was inaugurated on 3 October 1886 with a performance of Gluck's "Iphigénie en Aulide" with Marie Wittich in the title role.  The complex also includes the State Museum in Schwerin ("Staatliche Museum Schwerin") and a 240-seat concert hall, now used for performances of chamber works.  All theatres were closed for the Autumn season of 1944, with the staff drafted wherever possible.  By German WW2 standards wartime casualties and destruction by bombing in Schwerin were small, in spite of nightly RAF raids and the droning of massive bomber pulks as silver specks on the sky during the day on their way to Berlin.  Americans were the first to enter the town in the spring of 1945, handing it over to the British until the Russians arrived.  These ordered the immediate reopening of the theatre, taking great interest in light operas and operettas as an art they very much appreciated, but until then out of their reach in most parts of Stalin's Soviet Union.  Not familiar with Central European culture, one saw their well-fed ladies wearing night gowns during the invariably full houses as a substitute for an evening dress.  In the immediate years to follow, there was a gradual exodus of key staff to the West, where few found equivalent employment.  The ensuing vacancies provided new chances for many musicians, who were prepared to stay in East Germany to gain important positions there in their later career. Styled a "festa teatrale", "Le feste d'Apollo" consists of a prologue and three self-contained acts on the model of French "opéra-ballet" (the court of Parma was passionately interested in French culture).  Gluck knew the Archduchess Maria Amalia well as she had sung in two of his operas, "Il Parnaso confuso" and "La corona", in Vienna.  The composer recycled a lot of music from his earlier operas in the score of "Le feste".  In fact, the whole of the third act, "Orfeo", is a shorter reworking of his most famous piece, "Orfeo ed Euridice" (1762).  The overture to the prologue is taken from "Telemaco".  Gluck later reused some of the choruses in two of the operas he wrote for Paris, "Iphigénie en Aulide" and "Iphigénie en Tauride". La fanciulla del West ("The Girl of the West") is an opera in three acts by Giacomo Puccini to an Italian libretto by and , based on the play "The Girl of the Golden West" by the American author David Belasco.  "Fanciulla" followed "Madama Butterfly", which was also based on a Belasco play.  The opera has fewer of the show-stopping highlights that are characteristic of other Puccini works, but is admired for its impressive orchestration and for a score that is more melodically integrated than is typical of his previous work.  "Fanciulla" displays influences from composers Claude Debussy and Richard Strauss, without being in any way imitative.  Similarities between the libretto and the work of Richard Wagner have also been found, though some attribute this more to the original plot of the play, and have asserted that the opera remains quintessentially Italian. Frank Guarrera (December 3, 1923 – November 23, 2007) was an Italian-American lyric baritone who enjoyed a long and distinguished career at the Metropolitan Opera, singing with the company for a total of 680 performances.  He performed 35 different roles at the Met, mostly from the Italian and French repertories, from 1948 through 1976.  His most frequent assignments at the house were as Escamillo in Georges Bizet's "Carmen", Marcello in Giacomo Puccini's "La Bohème", Valentin in Charles Gounod's "Faust", and Ping in Puccini's "Turandot".  He was also an admired interpreter of Mozart roles, establishing himself in the parts of both Guglielmo and Don Alfonso in "Così fan tutte" and Count Almaviva in "Le nozze di Figaro".  Most of the roles he portrayed were from the lyric repertoire, such as the title role in Tchaikovsky's "Eugene Onegin", but he also sang some heavier roles at the Met like Amonasro in "Aïda", Jack Rance in "La fanciulla del West" and Il conte di Luna in "Il trovatore".
Answer: three