Question: Which of these two act operas, Lucrezia Borgia or Il pirata, was based on a three-act melodrame? 

full_context: Document 1: Rita (opera): In 1841, while Donizetti was in Paris waiting for the libretto to be completed for a commission by La Scala, he had a chance encounter with Gustave Vaëz, who had co-written the libretti for two of his earlier operas, "Lucie de Lammermoor" (the French version of "Lucia di Lammermoor") and "La favorite". He asked Vaëz if he could provide a libretto for a short opera to keep him busy while waiting for the La Scala project to advance. Vaëz quickly created "Deux hommes et une femme" ("Two Men and a Woman"), a comic piece in one act consisting of eight musical numbers connected by spoken dialogue. According to Vaëz, Donizetti completed the score in eight days. However, the Opéra-Comique rejected it and Donizetti then had the libretto translated into Italian for an intended performance at the Teatro del Fondo in Naples. Following the death of the Teatro del Fondo's impresario, Domenico Barbaja, the Naples performance fell through. The score, still unperformed, was found in Donizetti's effects when he died in 1848.
Document 2: Maria Stuarda: Maria Stuarda (Mary Stuart) is a tragic opera ("tragedia lirica"), in two acts, by Gaetano Donizetti, to a libretto by Giuseppe Bardari, based on Andrea Maffei's translation of Friedrich Schiller's 1800 play "Maria Stuart".
Document 3: Lucrezia Borgia (opera): Lucrezia Borgia is a melodramatic opera in a prologue and two acts by Gaetano Donizetti. Felice Romani wrote the Italian libretto after the play "Lucrezia Borgia" by Victor Hugo, in its turn after the legend of Lucrezia Borgia. "Lucrezia Borgia" was first performed on 26 December 1833 at La Scala, Milan.
Document 4: La sonnambula: La sonnambula ("The Sleepwalker") is an opera semiseria in two acts, with music in the "bel canto" tradition by Vincenzo Bellini set to an Italian libretto by Felice Romani, based on a scenario for a "ballet-pantomime" written by Eugène Scribe and choreographed by Jean-Pierre Aumer called "La somnambule, ou L'arrivée d'un nouveau seigneur". The ballet had premiered in Paris in September 1827 at the height of a fashion for stage works incorporating somnambulism.
Document 5: Il trovatore: Il trovatore (] ; Italian for "The Troubadour") is an opera in four acts by Giuseppe Verdi to an Italian libretto largely written by Salvadore Cammarano, based on the play "El trovador" (1836) by Antonio García Gutiérrez. It was Gutiérrez's most successful play, one which Verdi scholar Julian Budden describes as "a high flown, sprawling melodrama flamboyantly defiant of the Aristotelian unities, packed with all manner of fantastic and bizarre incident."
Document 6: Il pirata: Il pirata ("The Pirate") is an opera in two acts by Vincenzo Bellini to an Italian libretto by Felice Romani which was based on a three-act mélodrame from 1826, "Bertram, ou le Pirate" ("Bertram, or The Pirate") by Charles Nodier and "Raimonde" (actually Isidore Justin Séverin Taylor). However, this play was itself based upon a French translation of the "five-act verse tragedy" "Bertram, or The Castle of St Aldobrando" by Charles Maturin which appeared in London in 1816.
Document 7: Lucia di Lammermoor: Lucia di Lammermoor is a "dramma tragico" (tragic opera) in three acts by Gaetano Donizetti. Salvadore Cammarano wrote the Italian-language libretto loosely based upon Sir Walter Scott's historical novel "The Bride of Lammermoor".
Document 8: Chiara e Serafina: Chiara e Serafina, o I pirati (Chiara and Serafina, or The Pirates) is an "opera semiseria" in two acts by Gaetano Donizetti to a libretto by Felice Romani, based on the melodrama "La cisterne" by René Charles Guilbert de Pixérécourt. Donizetti's first opera for La Scala, it was premiered on October 26, 1822, but was not a success. Donizetti was not given the opportunity to compose again for La Scala until writing "Ugo, conte di Parigi" nearly a decade later.
Document 9: Tosca: Tosca (] ) is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, "La Tosca", is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias.
Document 10: Lucrezia Borgia (play): Lucrezia Borgia (French: "Lucrèce Borgia" ) is an 1833 play by the French writer Victor Hugo. It is a historical work portraying the Renaissance-era Italian aristocrat Lucrezia Borgia. The play (along with "Angelo, Tyrant of Padua") is believed to have been a major influence on Oscar Wilde's "The Duchess of Padua" (1891).
Document 11: Marino Faliero (opera): Rossini had influenced the management of the Théâtre-Italien to commission works by the outstanding Italian composers of the day—Donizetti and Vincenzo Bellini. Both wrote operas for that house in Paris, Bellini's contribution being the hugely-successful "I puritani". Donizetti's opera, which premiered on 12 March 1835 (a few months after "I puritani") was not nearly as much of a success. However, it marked Donizetti's first opera to have its premiere in Paris.
Document 12: 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 13: Rigoletto: Rigoletto (] ) is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play "Le roi s'amuse" by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851.
Document 14: Le duc d'Albe: Le duc d'Albe (its original French title) or Il duca d'Alba (its later Italian title) is an opera in three acts originally composed by Gaetano Donizetti in 1839 to a French language libretto by Eugène Scribe and Charles Duveyrier. Its title, which translates as "The Duke of Alba", refers to its protagonist Fernando Álvarez de Toledo, 3rd Duke of Alba. The work was intended for performance at the Paris Opéra. However, William Ashbrook notes that "Rosine Stoltz, the director's mistress, disliked her intended role of Hélène and Donizetti put the work aside when it was half completed"
Document 15: La traviata: La traviata (] , The Fallen Woman) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on "La Dame aux Camélias" (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally titled "Violetta", after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice.
ground_truth: Il pirata