Question: Who is the composer of the show "The Beggar's" ended with the word classifying Labyrinth?

full_context: Document 1: The Ghosts of Versailles: The Ghosts of Versailles is an opera in two acts, with music by John Corigliano to an English libretto by William M. Hoffman. The Metropolitan Opera had commissioned the work from Corigliano in 1980 in celebration of its 100th anniversary, with the premiere scheduled for 1983. Corigliano and Hoffman took as the starting point for the opera the play "La Mère coupable" ("The Guilty Mother") by Pierre Beaumarchais. They took seven years to complete the opera, past the initial deadline. The opera received its premiere on December 19, 1991, at the Metropolitan Opera, with the production directed by Colin Graham. The premiere run of seven performances was sold out. The original cast included Teresa Stratas, Håkan Hagegård, Renée Fleming, Graham Clark, Gino Quilico, and Marilyn Horne. The Metropolitan Opera revived the opera in the 1994/1995 season.
Document 2: Labyrinth (opera): Labyrinth is an opera in one act by composer Gian Carlo Menotti. The work was commissioned for television by the NBC Opera Theatre and uses an English language libretto by the composer. Unlike Menotti's previous television operas, such as "Amahl and the Night Visitors", this opera was written with no intention of being moved to live stage performance later. Menotti intended for this work to utilize the special effects unique to television which could not be recreated in live theatre. As a result, NBC's television production of the opera is the only performance the work has received. At its premiere in March 1963 the opera was mainly criticized by the press for its trite use of allegory and music which rejected the avant-garde in favour of romanticism. Critic Harold C. Schonberg stated in his review in "The New York Times" that, "Menotti falls back on the procedures he has always used: the scraps of canonic imitation, the stretches of parlando, the Puccini like melodies, the banal waltz themes... [It] ended up an allegory that had all the dimension of a Mobius strip: an example of slick television and cinema of the 1960s wedded pretty much to music of the 1890s... On the whole "Labyrinth" is one of the thinnest musical concoctions Menotti has ever put together.
Document 3: Atlas (opera): Atlas is an opera in three acts composed by Meredith Monk who also wrote the libretto and choreographed the dances. It is scored for 18 voices and a small chamber orchestra which includes a shawm and a glass harmonica. The story is very loosely based on the life and writings of the explorer Alexandra David-Néel and is told primarily through wordless vocal sounds with brief interjections of spoken text in Mandarin Chinese and English. The opera was co-commissioned by Houston Grand Opera, the Walker Art Center in Minneapolis, and the American Music Theater Festival in Philadelphia. It premiered at Houston Grand Opera in February 1991, followed by performances that same year in Philadelphia and Minneapolis. It subsequently toured in the US and Europe and had its New York premiere in May 1992 at the Brooklyn Academy of Music.
Document 4: The Court Beggar: The Court Beggar is a Caroline era stage play written by Richard Brome. It was first performed by the acting company known as Beeston's Boys at the Cockpit Theatre. It has sometimes been identified as the seditious play, performed at the Cockpit in May 1640, which the Master of the Revels moved to have suppressed. However, the play's most recent editor, Marion O'Connor, dates it to "no earlier than the end of November 1640, and perhaps in the first months of 1641".
Document 5: Over the Hills and Far Away (traditional song): ``Over the Hills and Far Away ''is a traditional British song, dating back to at least the late 17th century. One version was published in Thomas D'Urfey's Wit and Mirth, or Pills to Purge Melancholy; a very different one appeared in George Farquhar's 1706 play The Recruiting Officer. A version also appears in John Gay's The Beggar's Opera of 1728.
Document 6: The Enchanted Island (2011 opera): The Enchanted Island is a "pasticcio" (pastiche) of music by various baroque composers, including George Frideric Handel, Antonio Vivaldi, and Jean-Philippe Rameau, devised and written by Jeremy Sams after "The Tempest" and "A Midsummer Night's Dream" by William Shakespeare. It was created by Julian Crouch and Phelim McDermott and premiered by the Metropolitan Opera on December 31, 2011, starring David Daniels, Joyce DiDonato, Danielle de Niese, Luca Pisaroni, and Lisette Oropesa. The popular 70-year-old Spanish tenor, Plácido Domingo, played the small but important part of the sea god Neptune. The following month a performance of the "pasticcio" was broadcast live into movie theaters across the world as part of the Metropolitan Opera Live in HD series. In late 2012, Virgin Classics released this broadcast version on DVD. The Met revived "The Enchanted Island" two seasons later. Daniels, de Niese, Pisaroni, and Domingo revived their roles from the premiere. Susan Graham assumed the role of Sycorax from DiDonato.
Document 7: Lancashire: Lancashire has a long and highly productive tradition of music making. In the early modern era the county shared in the national tradition of balladry, including perhaps the finest border ballad, "The Ballad of Chevy Chase", thought to have been composed by the Lancashire-born minstrel Richard Sheale. The county was also a common location for folk songs, including "The Lancashire Miller", "Warrington Ale" and "The soldier's farewell to Manchester", while Liverpool, as a major seaport, was the subject of many sea shanties, including "The Leaving of Liverpool" and "Maggie May", beside several local Wassailing songs. In the Industrial Revolution changing social and economic patterns helped create new traditions and styles of folk song, often linked to migration and patterns of work. These included processional dances, often associated with rushbearing or the Wakes Week festivities, and types of step dance, most famously clog dancing.
Document 8: A Harlot's Progress (opera): A Harlot's Progress is an opera in six scenes by the British composer Iain Bell which is based on William Hogarth's series of etchings of the same name. The libretto is by British author Peter Ackroyd.
Document 9: Hérodiade: The libretto is a retelling of the story of John the Baptist, Salome, Herod Antipas and Herodias, but is strikingly less psychological and bloody than Richard Strauss's "Salome", which is based on a text by Oscar Wilde. The opera premiered in Brussels because Auguste Vaucorbeil, Manager of the Paris Opera house refused to stage the work; "I do like your music," he had said to Massenet, "but as for the libretto, you badly need an author who knows how to build the skeleton of a play."
Document 10: Genji monogatari (opera): Genji monogatari ("The Tale of Genji") is an opera by the Japanese composer Minoru Miki, with the libretto by Colin Graham, based on the eponymous masterpiece of 11th-century classical Japanese literature by Murasaki Shikibu. The opera was composed in 1999 and premiered in June 2000 at Opera Theatre of Saint Louis (OTSL) in the United States, with Graham directing the production. Cast members from the OTSL production participated in the Japanese premiere of the opera on 20 September 2001.
Document 11: Frank Porretta: Frank Porretta Jr. (May 4, 1930, Detroit – April 23, 2015, Stamford, Connecticut) was an American tenor who had an active career performing in operas, musicals, and concerts from 1952 through 1971. He had a particularly fruitful relationship with the New York City Opera from 1956 to 1970 where he sang a highly diverse repertoire; including roles in new operas by composers Norman Dello Joio, Carlisle Floyd, Vittorio Giannini, and Robert Ward. For the NBC Opera Theatre he portrayed The Astronaut in the world premiere of Gian Carlo Menotti's "Labyrinth".
Document 12: Johann Strauss III: Despite his keen interest in composing, he was better remembered as a conductor. His only stage work, the three-act operetta "Katze und Maus", composed in 1898, premiered in Vienna on 23 December 1898, at the Theater an der Wien. Its public reaction bordered on utter dislike, and music critics called for the distraught composer to reassess himself and to appear under a pseudonym, in order not to tarnish the name of his famous relatives. He salvaged the music score and produced independent pieces of which the waltzes "Sylvanien", Op. 1 and "Leonie", Op. 2 survived obscurity.
Document 13: Strolling Actresses Dressing in a Barn: Strolling Actresses Dressing in a Barn is a painting from 1738 by British artist William Hogarth. It was reproduced as an engraving and issued with "Four Times of the Day" as a five print set in the same year. The painting depicts a company of actresses preparing for their final performance before the troupe is disbanded as a result of the Licensing Act 1737. Brought in as a result of John Gay's "Beggar's Opera" of 1728, which had linked Robert Walpole with the notorious criminal Jonathan Wild, the Licensing Act made it compulsory for new plays to be approved by the Lord Chamberlain, and, more importantly for the characters depicted, closed any non-patent theatres. The majority of the painting was completed before the Act was passed in 1737, but its passing into law was no surprise and it was the work of a moment for Hogarth to insert a reference to the Act itself into the picture.
Document 14: The Beggar's Opera: The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.
Document 15: The Beggar's Opera: "The Beggar's Opera" premiered at the Lincoln's Inn Fields Theatre on 29 January 1728 and ran for 62 consecutive performances, the second longest run in theatre history up to that time (after 146 performances of Robert Cambert's "Pomone" in Paris in 1671). The work became Gay's greatest success and has been played ever since; it has been called "the most popular play of the eighteenth century." In 1920, "The Beggar's Opera" began a revival run of 1,463 performances at the Lyric Theatre in Hammersmith, London, which was one of the longest runs in history for any piece of musical theatre at that time.
ground_truth: Johann Christoph Pepusch
sub_queries: Labyrinth >> instance of Answer: opera
The Beggar's opera >> composer Answer: Johann Christoph Pepusch