Question: La Cenerentola and Doktor Faust, are which type of play?

Context paragraphs:
Martin Gantner: Martin Gantner is a German operatic baritone.  He made his professional opera debut in Koblenz as Count Almaviva in "The Marriage of Figaro".  He soon after joined the roster of singers at the Deutsche Oper Berlin where he notably portrayed one of the gang members in the world premiere of Hans Werner Henze's "Das verratene Meer" in 1990; a part he reprised for his debut at La Scala.  Engagements with other important houses soon followed, including the Semperoper (Dandini in "La Cenerentola") and Theater Basel (Guglielmo in "Così fan tutte").  He has been a member of the Bavarian State Opera since 1993.  Other companies with whom he has appeared as a guest artist include the Berlin State Opera, the Cologne Opera, the Deutsche Oper am Rhein, La Monnaie, the Liceu, the Los Angeles Opera, the Lyric Opera of Chicago, the Vienna State Opera, and the Zurich Opera among others.

Tenore di grazia: Tenore di grazia , also called leggero tenor ("graceful" and "light" tenor, respectively), is a lightweight, flexible tenor voice type.  The tenor roles written in the early 19th-century Italian operas are invariably leggero tenor roles, especially those by Rossini such as Lindoro in "L'italiana in Algeri", Don Ramiro in "La Cenerentola", and Almaviva in "Il barbiere di Siviglia"; and those by Bellini such as Gualtiero in "Il pirata", Elvino in "La sonnambula" and Arturo in "I puritani".  Many Donizetti roles, such as Nemorino in "L'elisir d'amore" and Ernesto in "Don Pasquale", Tonio in "La fille du régiment", are also "tenore di grazia" roles.  One of the most famous leggero tenors of that period was Giovanni Battista Rubini, for whom Bellini wrote nearly all his operas.

Ivanhoé: Ivanhoé is an 1826 pastiche opera in three acts with music by Gioachino Rossini to a French-language libretto by Émile Deschamps and Gabriel-Gustave de Wailly, after Walter Scott's novel of the same name.  The music was adapted, with the composer's permission, by the music-publisher Antonio Pacini from Rossini's operas, namely "Semiramide", "La Cenerentola", "La gazza ladra", and "Tancredi" in order to introduce his music to Paris.  An examination of the score shows that Pacini also used music from "Bianca e Faliero", "Armida", "Maometto II", "Aureliano in Palmira", "Sigismondo", "Torvaldo e Dorliska", "Mosè in Egitto" and an amount of newly composed music including fanfares and the gallop that was later to become famous from its inclusion in "Guglielmo Tell".  The work was premiered on 15 September 1826, at the Odéon Theatre.

La Cenerentola: La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic "dramma giocoso" in two acts by Gioachino Rossini.  The libretto was written by Jacopo Ferretti, based on the fairy tale "Cendrillon" by Charles Perrault.  The opera was first performed in Rome's Teatro Valle on 25 January 1817.

Il furioso all'isola di San Domingo: Il furioso all'isola di San Domingo "(The Madman on the Island of San Domingo)" is a "romantic melodramma" in two acts by the composer Gaetano Donizetti.  Jacopo Ferretti, who since 1821 had written five libretti for Donizetti and two for Rossini (including "La cenerentola"), had proposed the unusual subject and he was contracted to write the Italian libretto based on a five-act play of the same title by an unknown author in 1820, which "had been given in the same theatre [...] and which Donizetti had immediately loved".  However, as has been noted by Charles Osborne, the "ultimate derivation of both play and libretto is an episode in part 1 of "Don Quixote" by Miguel de Cervantes's published in 1605" which is the story of Cardenio and Lucinda.

Heidi Brunner: Heidi Brunner (born 1966) is a Swiss opera singer.  She began her career as a mezzo-soprano at the Anhaltisches Theater in Dessau in 1993.  After making appearances at the opera houses in Basel, Innsbruck, and Biel, she was a member of both the Vienna State Opera and Vienna Volksoper from 1996 to 1999.  Among the roles she sang in Vienna were Adalgisa in "Norma", Annio in "La clemenza di Tito", and the title role in "La Cenerentola".  She then sang as a guest artist with theatres throughout Europe, including making appearances at the Bavarian State Opera, the Grand Théâtre de Genève, the Komische Oper Berlin, the Liceu, and the Salzburg Festival.  In the 2004-2005 season she began performing roles from the soprano repertoire, beginning with a performance of Franz Schreker's "Irrelohe".

Doktor Faust: Doktor Faust is an opera by Ferruccio Busoni with a German libretto by the composer himself, based on the myth of Faust.  Busoni worked on the opera, which he intended as his masterpiece, between 1916 and 1924, but it was still incomplete at the time of his death.  His pupil Philipp Jarnach finished it.  More recently, in 1982, Antony Beaumont completed the opera using sketches by Busoni which were previously thought to have been lost.  Nancy Chamness has published an analysis of the libretto to "Doktor Faust" and a comparison with Goethe's version.

Francilla Pixis: Francilla Pixis (15 May 1816 – ? 1888) was a German mezzo-soprano.  She was born Franziska Helma Göhringer in Lichtenthal near Baden-Baden.  She was initially trained by the pianist and composer Johann Peter Pixis who adopted her when she was 15 but also studied with Henriette Sontag and Ferdinando Paer.  She made her concert debut in London in 1833 and her operatic debut in 1834 in Karlsruhe.  She subsequently sang in Vienna, Paris, London, and Italy both on the opera stage and in successful concert tours with her adoptive father.  In Italy she made her La Scala debut in 1838 in the title role of Rossini's "La Cenerentola" and also sang at the Teatro San Carlo in Naples and the Teatro Massimo in Palermo.  In 1840 she created the title role in Giovanni Pacini's "Saffo", which he wrote expressly for her voice.  Pixis married a Sicilian nobleman, Giovanni di Sant'Onofrio del Castillo, in 1843 and retired from the stage three years later.  Their son, Ugo di Sant'Onofrio del Castillo, served in the Italian Parliament, first in the Chamber of Deputies from 1888 until 1913 and later in the Senate.

Kenneth Tarver: Kenneth Tarver is an African-American operatic tenor.  He has appeared at some of the world’s most prestigious opera houses, such as the Royal Opera House Covent Garden, Municipal Theatre of Santiago in Chile (as Lindoro in "L'Italiana in Algeri" ), Wiener Staatsoper, Deutsche Oper Berlin, Staatsoper Unter den Linden, Bayerische Staatsoper, Dresden Semperoper, Gran Teatre del Liceu Barcelona, Opéra Comique París, Teatro Lirico Giuseppe Verdi in Trieste, La Monnaie Brussels, Metropolitan Opera, Washington (as Prince Ramiro in "La Cenerentola" ) and Teatro San Carlo Naples.

Agostino Rovere: Agostino Rovere (1804, Monza - 1865, New York City) was an Italian operatic bass.  After studying singing in Milan, he made his professional opera debut in 1826 at the opera house in Pavia.  In 1828 he portrayed Clemente in the world premiere of Vincenzo Bellini's "Bianca e Fernando" at the Teatro Carlo Felice in Genoa.  In 1839 he sang the role of Pedrigo in the world premiere of Gaetano Donizetti's "Gianni di Parigi" at La Scala.  He returned to that opera house the following year to create the role of La Rocca in the world premiere of Giuseppe Verdi's "Un giorno di regno".  In 1842 he portrayed the role of Marquis de Boisfleury in the world premiere of Donizetti's "Linda di Chamounix" at the Kärntnertortheater in Vienna.  In 1847-1848 he was committed to the Royal Opera House in London where he sang Bartolo in Wolfgang Amadeus Mozart's "The Marriage of Figaro", Don Magnifico in Rossini's "La Cenerentola", Dulcamara in Donizetti's "L'elisir d'amore", Leporello in "Don Giovanni", and Mustafà in Gioachino Rossini's "L'italiana in Algeri"

Supporting paragraphs: La Cenerentola Doktor Faust
Answer: opera