Question: Between Pelléas et Mélisande and Riders to the Sea, which one has more acts?

full_context: Document 1: Curlew River: Curlew River – A Parable for Church Performance (Op. 71) is an English music drama with music by Benjamin Britten to a libretto by William Plomer. The first of Britten's three 'Parables for Church Performance', the work is based on the Japanese "noh" play "Sumidagawa" (Sumida River) of Juro Motomasa] (1395–1431), which Britten saw during a visit to Japan and the Far East in early 1956. Beyond the "noh" source dramatic material, Britten incorporated elements of "noh" treatment of theatrical time into this composition. "Curlew River" marked a departure in style for the remainder of the composer's creative life, paving the way for such works as "Owen Wingrave", "Death in Venice", and the Third String Quartet.
Document 2: Ralph Vaughan Williams: Ralph Vaughan Williams {'1': ", '2': ", '3': ", '4': "} ( 12 October 1872– 26 August 1958) was an English composer. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over nearly fifty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.
Document 3: Señora Carrar's Rifles: Señora Carrar's Rifles (German: "Die Gewehre der Frau Carrar" ) is a one-act play by the twentieth-century German dramatist Bertolt Brecht, written in collaboration with Margarete Steffin. It is a modern version of the Irish dramatist John Millington Synge's play "Riders to the Sea" (1904). The play's setting is re-located to Spain during the height of the Civil War. Teresa Carrar, the mother, wants to protect her children but ends up fighting on the side of the oppressed. Brecht wrote it in 1937 and it received its first theatrical production in the same year, opening in Paris on 16 October. This production was directed by Slatan Dudow and Helene Weigel played Señora Carrar.
Document 4: Pelléas et Mélisande discography: This is a discography of "Pelléas et Mélisande", an opera by Claude Debussy. The premiere performance was at the Opéra-Comique in Paris on 30 April 1902. The list includes all of the studio recordings and also some live performances available on audio CD and DVD.
Document 5: Pelléas et Mélisande (opera): Pelléas et Mélisande ("Pelléas and Mélisande") is an opera in five acts with music by Claude Debussy. The French libretto was adapted from Maurice Maeterlinck's Symbolist play "Pelléas et Mélisande". It premiered at the Opéra-Comique in Paris on 30 April 1902 with Jean Périer as Pelléas and Mary Garden as Mélisande in a performance conducted by André Messager, who was instrumental in getting the Opéra-Comique to stage the work. The only opera Debussy ever completed, it is considered a landmark in 20th-century music.
Document 6: Riders to the Sea (opera): Riders to the Sea is a short one-act opera by Ralph Vaughan Williams, based on the play of the same name by John Millington Synge. The composer completed the score in 1927, but it was not premiered until 1 December 1937, at the Royal College of Music, London. The opera remained largely the province of students and amateurs until it entered the repertoire of Sadler's Wells in 1953.
Document 7: Cavalleria rusticana discography: This is a discography of Cavalleria rusticana, an opera by Pietro Mascagni. It premiered at the Teatro Costanzi in Rome on 17 May 17, 1890. There have been over 100 full-length recordings of "Cavalleria rusticana" published since it was first recorded in Germany in 1909. Mascagni himself has conducted the opera in two recordings, the best-known of which is the 1940 EMI recording made to mark the 50th anniversary of the opera's premiere. The performance by the La Scala orchestra and chorus with Lina Bruna Rasa as Santuzza and Beniamino Gigli as Turiddu also has a spoken introduction by Mascagni. Originally released as an LP, it is available on CD under several historical recording labels, including Naxos.
Document 8: Pelléas et Mélisande (Sibelius): Pelléas et Mélisande ("Pelléas och Mélisande"), Op. 46, is incidental music by Jean Sibelius for Maurice Maeterlinck's 1892 play "Pelléas and Mélisande". Sibelius composed in 1905 ten parts, overtures to the five acts and five other movements. It was first performed at the Swedish Theatre in Helsinki on 17 March 1905 to a translation by Bertel Gripenberg, conducted by the composer).
Document 9: Claude Debussy: Achille-Claude Debussy (] , 22 August 1862 – 25 March 1918), known since the 1890s as Claude-Achille Debussy or Claude Debussy, was a French composer. He and Maurice Ravel were the most prominent figures associated with Impressionist music, though Debussy disliked the term when applied to his compositions. He was made Chevalier of the Legion of Honour in 1903. He was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed.
Document 10: Jean Périer: Jean (Alexis) Périer (2 February 1869 – 3 November 1954) was a French operatic baryton-martin and actor. Although he sang principally within the operetta repertoire, Périer did portray a number of opera roles; mostly within operas by Wolfgang Amadeus Mozart and Giacomo Puccini. His career was almost entirely centered in Paris and he had a long association with the Opéra-Comique. He sang in a large number of world premieres, most notably originating the role of Pelléas in Claude Debussy's "Pelléas et Mélisande" in 1902. In addition to his opera career, Périer appeared in several films between 1900 and 1938.
Document 11: Masques (Debussy): Masques, L. 105, is a piece for solo piano by Claude Debussy. Composed in July 1904, it was premiered on 18 February 1905 by Ricardo Viñes at the Salle Pleyel in Paris. Its sombre character reflects Debussy’s difficult separation from Lilly Texier, his first wife. The title refers to the commedia dell’arte, although Debussy confided to Marguerite Long that the piece was "not Italian comedy, but an expression of the tragedy of existence" - (""ce n'est pas la comédie italienne, mais l'expression tragique de l’existence."")
Document 12: Hector Dufranne: Hector Dufranne (25 October 1870 – 4 May 1951) was a Belgian operatic bass-baritone who enjoyed a long career that took him to opera houses throughout Europe and the United States for more than four decades. Admired for both his singing and his acting, Dufranne appeared in a large number of world premieres, most notably the role Golaud in the original production of Claude Debussy's "Pelléas et Mélisande" in 1902, which he went on to sing 120 times at that house. He had an excellent singing technique which maintained the quality of his voice even into the latter part of his career. His wide vocal range and rich resonant voice enabled him to sing a variety of roles which encompassed French, German, and Italian opera.
Document 13: Félix Vieuille: Félix Vieuille (15 October 1872, Saujon – 28 February 1953, Saujon) was a French operatic bass who sang for more than four decades with the Opéra-Comique in Paris during the first half of the twentieth century. He created roles in numerous world premieres, most notably portraying Arkel in the original production of Claude Debussy's "Pelléas et Mélisande" in 1902 which he went on to sing 208 times at that house. He possessed a rich voice and a solid technique which helped sustain his career for a long time. His voice is preserved on a number of recordings made on the Odeon, Lyrophon, and Beka labels.
Document 14: A Sea Symphony: A Sea Symphony is a piece for orchestra and chorus by Ralph Vaughan Williams, written between 1903 and 1909. Vaughan Williams' first and longest symphony, it was first performed at the Leeds Festival in 1910, with the composer conducting. The symphony's maturity belies the composer's relative youth when it was written (he was 30 when he first began sketching it). One of the first symphonies in which a choir is used throughout the work and is an integral part of the musical texture, "A Sea Symphony" helped set the stage for a new era of symphonic and choral music in Britain during the first half of the 20th century. The work is sometimes referred to as the Symphony No. 1.
Document 15: Four Last Songs (Vaughan Williams): Ralph Vaughan Williams' Four Last Songs cycle is made up of four songs: "Procris," "Tired," "Hands, Eyes, and Heart," and "Menelaus." All of the songs were composed between 1954 and 1958. The cycle is best suited for mezzo-soprano, although, the original program note from the cycle's 1959 premiere acknowledges that all of the songs may be sung by a baritone, except for "Hands, Eyes, and Heart" "which is a woman's song." It is suggested that the four songs were originally intended to be two separate song cycles with "Menelaus" and "Procris" belonging to one cycle and "Tired" and "Hands, Eyes, and Heart" belonging to another. However, there is debate in the scholarly community about this proposed song cycle grouping. Renée Chérie Clark in her essay, "A Critical Appraisal of Four Last Songs" suggests, citing a letter from the composer to a friend at Cornell University, that Vaughan Williams actually intended for "Menelaus" and "Hands, Eyes, and Heart" to be grouped together. The composer's death in 1958 left both cycles unfinished, and in 1960, they were assembled by the composer's widow, Ursula Vaughan Williams, and published as set by Oxford University Press. The texts of all four songs are poems written by Vaughan Williams' wife Ursula who penned several books of poetry throughout her lifetime as well as a biography of her late husband. "Procris" and "Menelaus" deal with figures from ancient Greek and Roman mythology and epic poetry while "Tired" and "Hands, Eyes, and Heart" depict images of love between a husband and wife.
ground_truth: Pelléas et Mélisande