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

full_context: Document 1: Turandot (Busoni): Turandot is a 1917 opera with spoken dialogue and in two acts by Ferruccio Busoni. Busoni prepared his own libretto, in German, based on the play by Count Carlo Gozzi. The music for Busoni's opera is based on the incidental music, and the associated "Turandot Suite" (BV 248), which Busoni had written in 1905 for a production of Gozzi's play. The opera is often performed as part of a double bill with Busoni's earlier one-act opera "Arlecchino".
Document 2: Capriccio (opera): Capriccio, Op. 85, is the final opera by German composer Richard Strauss, subtitled "A Conversation Piece for Music". The opera received its premiere performance at the Nationaltheater München on 28 October 1942. Clemens Krauss and Strauss wrote the German libretto. However, the genesis of the libretto came from Stefan Zweig in the 1930s, and Joseph Gregor further developed the idea several years later. Strauss then took on the libretto, but finally recruited Krauss as his collaborator on the opera. Most of the final libretto is by Krauss.
Document 3: Io (opera): "Io"'s unfinished state meant that it was once believed to be Rameau's last opera, but it contains a duet which appears in revised form in "Les fêtes de Polymnie" (1745). This has led the musicologist Graham Sadler to conclude that "Io" must predate 1745 and that the librettist was Louis de Cahusac, who also wrote the words for "Les fêtes", because French librettists did not borrow from other writers.
Document 4: 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.
Document 5: La gazzetta: La gazzetta, ossia Il matrimonio per concorso (The Newspaper, or The Marriage Contest) is an opera buffa by Gioachino Rossini. The libretto was by Giuseppe Palomba after Carlo Goldoni's play "Il matrimonio per concorso" of 1763.
Document 6: Randy Newman's Faust: Randy Newman's Faust is a 1995 musical by American musician and songwriter Randy Newman, who based the work on the classic story of "Faust", borrowing elements from the version by Goethe, as well as Milton's "Paradise Lost", but updating the story to the modern day, and infusing it with humorous cynicism. In this retelling, God and the Devil fight for the soul of Henry Faust, a student at the University of Notre Dame. The musical was performed at the La Jolla Playhouse in San Diego in September 1995, and the Goodman Theatre in Chicago in Sept 1996, as well as released as a CD as a concept album. In July 2014, a stripped-down, modernized "concert" version was staged for Encores! at New York City Center.
Document 7: Faust Overture: The Faust Overture is a concert overture composed by German composer Richard Wagner. Wagner originally composed it between 1839 and 1840, intending it to be the first movement of a "Faust Symphony" based on the play "Faust" by German playwright Johann Wolfgang von Goethe. Realizing that he would not finish the planned symphony, Wagner revised the piece between 1843 and 1844, incorporating ideas from the other planned movements, and creating instead a single-movement concert overture. He made a final revision in 1855. The work is one of Wagner's few compositions intended for the concert hall, rather than the theatre.
Document 8: Griselda (A. Scarlatti): Griselda is an opera seria in three acts by the Italian composer Alessandro Scarlatti, the last of Scarlatti’s operas to survive completely today. The libretto is by Apostolo Zeno, with revisions by an anonymous author. Zeno wrote his work in 1701 and it had already been set by Pollarolo and Antonio Maria Bononcini (Albinoni, Giovanni Bononcini and Vivaldi would later produce versions). It is based on the story of Patient Griselda from Boccaccio's "Decameron". Scarlatti's opera was first performed at the Teatro Capranica, Rome in January, 1721 with an all-male cast (five castratos and a tenor).
Document 9: La cambiale di matrimonio: La cambiale di matrimonio (The Bill of Marriage or The Marriage Contract) is a one-act operatic farsa comica by Gioachino Rossini to a libretto by Gaetano Rossi. The libretto was based on the play by Camillo Federici (1791) and a previous libretto by Giuseppe Checcherini for Carlo Coccia's 1807 opera, "Il matrimonio per lettera di cambio". The opera debuted on 3 November 1810 at the Teatro San Moisè in Venice
Document 10: Turandot Suite: The Turandot Suite, Op. 41 (BV 248) is an orchestral work by Ferruccio Busoni written in 1904-5, based on Carlo Gozzi's play "Turandot". The music – in one form or another – occupied Busoni at various times between the years 1904–17. Busoni arranged the suite from incidental music which he was composing to accompany a production of Gozzi's play. The suite was first performed in October 1905, while the play with his incidental music was not produced until 1911. In August 1916 Busoni had finished composing the one-act opera "Arlecchino", but it needed a companion work to provide a full evening's entertainment. He suddenly decided to transform the "Turandot" music into a two-act opera with spoken dialog. The two works were premiered together as a double-bill in May 1917.
Document 11: Richard Wagner: Wilhelm Richard Wagner ( ; ] ; 22 May 181313 February 1883) was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas (or, as some of his later works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionised opera through his concept of the "Gesamtkunstwerk" ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle "Der Ring des Nibelungen" ("The Ring of the Nibelung").
Document 12: 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.
Document 13: Turandot (Gozzi): Turandot (1762) is a "commedia dell'arte" play by Carlo Gozzi after a supposedly Persian story from the collection "Les Mille et un jours" (1710–1712) by François Pétis de la Croix (not to be confused with "One Thousand and One Nights"). Gozzi's "Turandot" was first performed at the Teatro San Samuele, Venice, on 22 January 1762.
Document 14: Le comte Ory: Le comte Ory is an opéra written by Gioachino Rossini in 1828. Some of the music originates from his opera "Il viaggio a Reims" written three years earlier for the coronation of Charles X. The French libretto was by Eugène Scribe and Charles-Gaspard Delestre-Poirson adapted from a comedy they had first written in 1817.
Document 15: 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.
ground_truth: opera