Question: What is the name of the opera created by a composer of Italian and French opera in the early classical period?

full_context: Document 1: La clemenza di Tito (Mysliveček): La clemenza di Tito ("The Clemency of Titus") is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was composed to a libretto by the Italian poet Metastasio that was first performed in 1734 with music of Antonio Caldara. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste (similar to the setting of the same text by Wolfgang Amadeus Mozart). The cuts and changes in the text made for the 1774 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria.
Document 2: Giulio Sabino: The opera, staged in six or seven European countries at the end of the 18th century, was the subject of a parody in Antonio Salieri's 1786 work "Prima la musica e poi le parole".
Document 3: Idomeneo: Idomeneo, re di Creta ossia Ilia e Idamante (Italian for "Idomeneus, King of Crete, or, Ilia and Idamante"; usually referred to simply as Idomeneo, K. 366) is an Italian language opera seria by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as "Idoménée" in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. He probably chose the subject, though it might have been Mozart. The work premiered on 29 January 1781 at the Cuvilliés Theatre in Munich, Germany.
Document 4: Prima la musica e poi le parole: Prima la musica e poi le parole ("First the music and then the words"), also called "Prima la musica, poi le parole " is an opera in one act by Antonio Salieri to a libretto by Giovanni Battista Casti. The work was first performed on 7 February 1786 in Vienna, following a commission by the Emperor Joseph II. The opera (more specifically, a "divertimento teatrale ") was first performed at one end of the orangery of the Schönbrunn Palace in Vienna by an Italian troupe: simultaneously, Mozart's "Der Schauspieldirektor" was staged at the other end.
Document 5: Il Bellerofonte: Il Bellerofonte is an 18th-century Italian opera in three acts by the Czech composer Josef Mysliveček. It conforms to the serious type (opera seria) that was typically set in the distant past. The libretto, based on the Greek legend of Bellerophon, was written by Giuseppe Bonecchi. The work was dedicated to King Ferdinand I of the Two Sicilies and was first performed at the Teatro San Carlo in Naples on 20 January 1767, the birthday of his father, King Charles III of Spain. The cast featured two stellar singers of the time, Caterina Gabrielli and Anton Raaff, in the leading roles. The opera was only the composer's second one, and the first that permitted him the opportunity to write music for first-rate vocal artists. The production was highly successful, indeed responsible for a meteoric rise in his reputation as an operatic composer. From the time of the premiere of "Bellerofonte" until his death in 1781, Mysliveček succeeded in having more new "opere serie" brought into production than any other composer in Europe. During the same time span, he also had more new operas staged at the Teatro San Carlo in Naples than any other composer.
Document 6: Christoph Willibald Gluck: Christoph Willibald (Ritter von) Gluck (] ; 2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate (now part of Germany) and raised in Bohemia, he gained prominence at the Habsburg court at Vienna, where he brought about the practical reform of opera's dramaturgical practices that many intellectuals had been campaigning for over the years. With a series of radical new works in the 1760s, among them "Orfeo ed Euridice" and "Alceste", he broke the stranglehold that Metastasian "opera seria" had enjoyed for much of the century.
Document 7: The Magic Flute: The Magic Flute (German: Die Zauberflöte ), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a "Singspiel", a popular form that included both singing and spoken dialogue. The work premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death.
Document 8: Armide (Gluck): Gluck set the same libretto Philippe Quinault had written for Lully in 1686, based on Torquato Tasso's "Gerusalemme liberata" ("Jerusalem Delivered"). Gluck seemed at ease in facing French traditions head-on when he composed "Armide". Lully and Quinault were the very founders of serious opera in France and "Armide" was generally recognized as their masterpiece, so it was a bold move on Gluck's part to write new music to Quinault's words. A similar attempt to write a new opera to the libretto of "Thésée" by Jean Joseph de Mondonville in 1765 had ended in disaster, with audiences demanding it be replaced by Lully's original. By utilizing "Armide", Gluck challenged the long-standing and apparently inviolable ideals of French practice, and in the process he revealed these values capable of renewal through "modern" compositional sensitivities. Critical response and resultant polemic resulted in one of those grand imbroglios common to French intellectual life. Gluck struck a nerve in French sensitivities, and whereas "Armide" was not one of his more popular works, it remained a critical touchstone in the French operatic tradition and was warmly praised by Berlioz in his "Memoirs". Gluck also set a minor fashion for resetting Lully/Quinault operas: Gluck's rival Piccinni followed his example with "Roland" in 1778 and "Atys" in 1780; in the same year, Philidor produced a new "Persée"; and Gossec offered his version of "Thésée" in 1782. Gluck himself is said to have been working on an opera based on "Roland", but he abandoned it when he heard Piccinni had taken on the same libretto.
Document 9: Calliroe: The opera follows the usual pattern of "opera seria" of the time: "secco" recitative interlaced with "da capo" arias. Within this format Sacchini introduced strong dramatic music to suit the libretto: "stromentato" recitative is also used for extra dramatic effect, and the arias are sometimes interrupted by bursts of recitative. Stylistically, the work is thought to anticipate Italian opera of the following decade, and in particular Mozart's "Il re pastore".
Document 10: Il re pastore (Gluck): Il re pastore ("The Shepherd King") is an opera by the composer Christoph Willibald Gluck. It takes the form of a "dramma per musica" in three acts. The Italian-language libretto is by Pietro Metastasio. The opera premiered on 8 December 1756 at the Burgtheater, Vienna.
Document 11: Le feste d'Apollo: 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".
Document 12: Il re pastore: Il re pastore ("The Shepherd King") is an opera, K. 208, written by Wolfgang Amadeus Mozart to an Italian libretto by Metastasio, edited by Giambattista Varesco. It is an opera seria. The opera was first performed on 23 April 1775 in Salzburg, at the Palace of the Archbishop Count Hieronymus von Colloredo.
Document 13: Orfeo ed Euridice: Orfeo ed Euridice (French version: Orphée et Eurydice ; English: "Orpheus and Eurydice") is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the "azione teatrale", meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762 in the presence of Empress Maria Theresa. "Orfeo ed Euridice" is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of "opera seria" with a "noble simplicity" in both the music and the drama.
Document 14: Paride ed Elena: Paride ed Elena (] ; "Paris and Helen") is an opera by Christoph Willibald Gluck. It is the third of Gluck's so-called reform operas for Vienna, following "Alceste" and "Orfeo ed Euridice", and the least often performed of the three. Like its predecessors, the libretto was written by Ranieri de' Calzabigi. The opera tells the story of the events between the Judgment of Paris and the flight of Paris and Helen to Troy. It was premiered at the Burgtheater in Vienna on 3 November 1770.
Document 15: Die Entführung aus dem Serail: Die Entführung aus dem Serail (K. 384; The Abduction from the Seraglio; also known as Il Seraglio ) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of Pasha Selim. The work premiered on 16 July 1782 at the Vienna Burgtheater, with the composer conducting.
ground_truth: Il re pastore