Question: Are Dido and Aeneas and Rise and Fall of the City of Mahagonny both operas?

full_context: Document 1: Dido and Aeneas: Dido and Aeneas (Z. 626) is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell with a libretto by Nahum Tate. The dates of the composition and first performance of the opera are uncertain. It was composed no later than July 1688, and had been performed at Josias Priest's girls' school in London by the end of 1689. Some scholars argue for a date of composition as early as 1683. The story is based on Book IV of Virgil's "Aeneid". It recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas, and her despair when he abandons her. A monumental work in Baroque opera, "Dido and Aeneas" is remembered as one of Purcell's foremost theatrical works. It was also Purcell's only true opera, as well as his only all-sung dramatic work. One of the earliest known English operas, it owes much to John Blow's "Venus and Adonis", both in structure and in overall effect. The influence of Cavalli's opera "Didone" is also apparent.
Document 2: Marc Blitzstein: Marcus Samuel Blitzstein (March 2, 1905January 22, 1964), was an American composer, lyricist, and librettist. He won national attention in 1937 when his pro-union musical "The Cradle Will Rock", directed by Orson Welles, was shut down by the Works Progress Administration. He is known for "The Cradle Will Rock" and for his Off-Broadway translation/adaptation of "The Threepenny Opera" by Bertolt Brecht and Kurt Weill. His works also include the opera "Regina", an adaptation of Lillian Hellman's play "The Little Foxes"; the Broadway musical "Juno", based on Seán O'Casey's play "Juno and the Paycock"; and "No for an Answer". He completed translation/adaptations of Brecht's and Weill's musical play "Rise and Fall of the City of Mahagonny" and of Brecht's play "Mother Courage and Her Children" with music by Paul Dessau. Blitzstein also composed music for films, such as "Surf and Seaweed" (1931) and "The Spanish Earth" (1937), and he contributed two songs to the original 1960 production of Hellman's play "Toys in the Attic".
Document 3: Complex seeing: The English term Complex Seeing is taken from Bertolt Brecht's writing on theatre and opera. First found in Brecht's notes to the "Threepenny Opera", a subsequently edited and updated version was published. This text can be found in English translation as "The Literarization of Theatre" from 1931, in Brecht on Theatre, where the key passage on complex seeing reads:
Document 4: Mahagonny-Songspiel: Mahagonny-Songspiel, also known as The Little Mahagonny, is a "small-scale 'scenic cantata'" written by the composer Kurt Weill and the dramatist Bertolt Brecht in 1927. Weill was commissioned in the spring to write one of a series of very short operas for performance that summer, and he chose to use the opportunity to create a "stylistic exercise" as preparation for a larger-scale project that they had begun to develop together (the two had met for the first time in March), their experimental 'epic opera' "The Rise and Fall of the City of Mahagonny" (1930).
Document 5: Didone abbandonata (Albinoni): Didone abbandonata ("Dido Abandoned") was an opera in three acts composed by Tomaso Albinoni. Albinoni's music (now lost) was set to Pietro Metastasio's libretto, "Didone abbandonata", which was in turn based on the story of Dido and Aeneas from the fourth book of Virgil's "Aeneid". The opera premiered on 26 December 1724 at the Teatro San Cassiano in Venice and was the first time that an opera based on a Metastasio libretto was performed in Venice.
Document 6: Rise and Fall of the City of Mahagonny: Rise and Fall of the City of Mahagonny (German: Aufstieg und Fall der Stadt Mahagonny ) is a political-satirical opera composed by Kurt Weill to a German libretto by Bertolt Brecht. It was first performed on 9 March 1930 at the Neues Theater in Leipzig.
Document 7: Kurt Weill: Kurt Julian Weill (March 2, 1900April 3, 1950) was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work "The Threepenny Opera", which included the ballad "Mack the Knife". Weill held the ideal of writing music that served a socially useful purpose. He also wrote several works for the concert hall. He became a United States citizen on August 27, 1943.
Document 8: The Threepenny Opera: The Threepenny Opera (Die Dreigroschenoper ) is a "play with music" by Bertolt Brecht and Elisabeth Hauptmann, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera", with music by Kurt Weill and insertion ballads by François Villon and Rudyard Kipling. Although Hauptmann produced 80 to 90 percent of the text, Brecht suppressed this and assumed sole credit, and is usually listed as sole author in printed versions.
Document 9: Dido, Queen of Carthage (opera): Dido, Queen of Carthage was an opera in three acts by Stephen Storace. Its English libretto by Prince Hoare was adapted from Metastasio's 1724 libretto, "Didone abbandonata" ("Dido Abandoned"), which had been set by many composers. Storace's opera premiered on 23 May 1792 at The King's Theatre in London combined with a performance of his masque, "Neptune's Prophecy". The story is based on that of Dido and Aeneas in the fourth book of Virgil's "Aeneid". The opera was not a success and was never revived after its original run of performances. The score has been lost.
Document 10: Dido's Lament: Dido's Lament is the aria "When I am laid in earth" from the opera "Dido and Aeneas" by Henry Purcell (libretto by Nahum Tate).
Document 11: Didone abbandonata: Didone abbandonata is an opera libretto in three acts by Pietro Metastasio. It was his first original work and was set to music by Domenico Sarro in 1724. The opera was accompanied by the intermezzo "L'impresario delle Isole Canarie", also by Metastasio.
Document 12: The Fairy-Queen: The Fairy-Queen (1692; Purcell catalogue number Z.629) is a masque or semi-opera by Henry Purcell; a "Restoration spectacular". The libretto is an anonymous adaptation of William Shakespeare's wedding comedy "A Midsummer Night's Dream". First performed in 1692, "The Fairy-Queen" was composed three years before Purcell's death at the age of 35. Following his death, the score was lost and only rediscovered early in the twentieth century.
Document 13: Dido, Queen of Carthage (play): Dido, Queen of Carthage is a short play written by the English playwright Christopher Marlowe, with possible contributions by Thomas Nashe. The story of the play focuses on the classical figure of Dido, the Queen of Carthage. It tells an intense dramatic tale of Dido and her fanatical love for Aeneas (induced by Cupid), Aeneas' betrayal of her and her eventual suicide on his departure for Italy. The playwrights depended upon Books 1, 2, and 4 of Virgil's "Aeneid" as their main source.
Document 14: Didone (opera): The plot is based on Virgil's "Aeneid" (Book 4 in particular), though Busenello, in his second libretto for Cavalli, replaces Dido's tragic suicide of Virgil with a happy ending in which Dido marries Iarbas, King of the Getuli, who saves Dido from herself after Aeneas abandons her. The action is divided into a prologue and 3 acts.
Document 15: The Fall of the City: The Fall of the City by Archibald MacLeish is the first American verse play written for radio. The 30-minute radio play was first broadcast April 11, 1937, at 7 p.m. ET over the Columbia Broadcasting System (today CBS) as part of the "Columbia Workshop" radio series. The cast featured Orson Welles and Burgess Meredith. Music was composed and directed by Bernard Herrmann. It is an allegory on the rise of Fascism.
ground_truth: yes