Question: What is the genre of the composer of La pastorella nobile?

full_context: Document 1: Frederick Corder: Frederick Corder continued his studies at the Royal Academy of Music, where he studied with George Alexander Macfarren (harmony and composition), William Cusins (piano) and William Watson (violin). In 1875, he earned a Mendelssohn Scholarship, which enabled him to study for four years abroad. He spent the first three in the Cologne Conservatory in Cologne, where he studied composition with Ferdinand Hiller and piano with Isidor Seiss. He spent his last year in Milan, without formal instruction. He did however meet Arrigo Boito and Giuseppe Verdi. Upon his return to England, in 1879, he became conductor at the Brighton Aquarium. In August 1884, for a single month, he filled in for William Robinson as a musical director for the D'Oyly Carte Opera Company, touring "Patience" and "Iolanthe".
Document 2: Armida abbandonata: Armida Abbandonata ("Armida Abandoned") is an opera in three acts by the Italian composer Niccolò Jommelli. The libretto, by Francesco Saverio De Rogatis, is based on the epic poem "Jerusalem Delivered" by Torquato Tasso. The opera was first performed at the Teatro San Carlo, Naples on 30 May 1770. The young Wolfgang Amadeus Mozart was in the audience. He described the work as "beautiful but too serious and old-fashioned for the theatre". Nevertheless, despite a lukewarm reception at its premiere, "Armida abbandonata" was widely performed throughout Italy in the following years.
Document 3: Il pastor fido: Il pastor fido (The Faithfull Shepherd in Richard Fanshawe's 1647 English translation) is a pastoral tragicomedy set in Arcadia by Giovanni Battista Guarini, first published in 1590 in Venice.
Document 4: Lamberto Puggelli: Born in Milan, in 1958 Puggelli graduated at the Accademia dei filodrammatici in Milan, then in the early sixties he began his career as a theater director for the Festival of Two Worlds in Spoleto. At the end of the sixties he also began to direct operas in Italy and abroad.
Document 5: Mitridate, re di Ponto: Mozart wrote "Mitridate" while touring Italy in 1770. The musicologist Daniel E. Freeman has recently demonstrated that it was composed with close reference to the opera "La Nitteti" by Josef Mysliveček. The latter was the opera being prepared for production in Bologna when Mozart met Mysliveček for the first time with his father in March 1770. Mysliveček visited the Mozarts frequently in Bologna during the summer of 1770 while Wolfgang was working on "Mitridate". Mozart gained expertise in composition from his older friend and also incorporated some of his musical motives into his own operatic setting. The opera was first performed at the Teatro Regio Ducal, Milan, on 26 December 1770 (at the Milan Carnival). It was a success, having been performed twenty-one times despite doubts because of Mozart's extreme youth – he was 14 at the time. No revival took place until the 20th century. This opera features virtuoso arias for the principal roles, but only two ensemble numbers: the act 2 ending duet between Aspasia and Sifare ("Se viver non degg’io"), and the brief quintet that ends the opera, very characteristic of standard baroque opera seria where the opera ends with a short "coro" or "tutti" number.
Document 6: Umberto Giordano: He was born in Foggia in Apulia, southern Italy, and studied under Paolo Serrao at the Conservatoire of Naples. His first opera, "Marina", was written for a competition promoted by the music publishers Casa Sonzogno for the best one-act opera, remembered today because it marked the beginning of Italian "verismo". The winner was Mascagni's "Cavalleria rusticana". Giordano, the youngest contestant, was placed sixth among seventy-three entries with his "Marina", a work which generated enough interest for Sonzogno to commission the staging of an opera based on it in the 1891–92 season.
Document 7: Pietro Alessandro Guglielmi: Guglielmi was born in Massa. He received his first musical education from his father Jacopo, and afterwards studied under Francesco Durante at the Conservatorio di Santa Maria di Loreto at Naples. His first operatic work, produced at Turin in 1755, established his reputation, and soon his fame spread beyond the limits of his own country, so that in 1762 he was called to Dresden to conduct the opera there. He remained for some years in Germany, where his works met with much success, but the greatest triumphs were reserved for him in England.
Document 8: Betulia liberata: The Mozart is the best known, if only because the composer's output receives more examination. Composed in March to July 1771 when Mozart was 15 years old, K. 118 (74c) is a 140-minute "azione sacra" on a text by Metastasio tracing the story of Judith and Holofernes from the biblical "". It was commissioned in March 1771 by Giuseppe Ximenes, Prince of Aragon, while Mozart and his father Leopold were on the way home to Salzburg from their first journey to Italy. It is the only oratorio Mozart ever wrote. Its two parts comprise sixteen arias, with solo or choral parts, scored for soloists, choir and orchestra. Not performed in Mozart's lifetime, "La Betulia liberata" is shaped stylistically to works by Leonardo Leo and Johann Adolph Hasse.
Document 9: Se vuol ballare: The cavatina "" is an aria for baritone or bass from the first act of the opera "The Marriage of Figaro" by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo Da Ponte based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro (1784). The Italian title means "If you want to dance".
Document 10: Finlay Dun: Dun was born at Aberdeen, 24 February 1795. He was educated at the Perth Grammar School and at the University of Edinburgh, but, his musical tastes developing, went to Paris, where he studied the violin under Pierre Baillot. He next went to Milan, and afterwards accepted an engagement as first viola player in the orchestra of the San Carlo Theatre at Naples. Either at Paris or Milan he had lessons from Aleksander Mirecki, and at Naples he made the acquaintance of Girolamo Crescentini, with whom he studied singing.
Document 11: Il re pastore: Metastasio wrote the libretto in 1751, basing it on a work by Torquato Tasso called "Aminta". The libretto was picked up when Mozart (just 19 at the time) and his father saw a performance of it set to music composed by Felice Giardini – Mozart's version, however was two acts rather than Giardini's three, and has a few substantial changes. Each act lasts for around an hour in performance. The Salzburg court chaplain Varesco was largely responsible for this editing of Metastasio's libretto.
Document 12: Antonio Veracini: Veracini was born in Florence, Italy, the eldest son of Francesco di Niccolò Veracini, a noted violinist who ran a music school, and from whom Antonio first learned to play the violin. When his father's health began to fail around 1708, Antonio took over the running of the school, where he taught the violin to (amongst others) his nephew Francesco Maria Veracini (1690–1768), later a celebrated violinist and composer in his own right. Unlike his nephew, who travelled widely, Antonio rarely left Florence. He did visit Rome on two occasions, where he is believed to have met Arcangelo Corelli, and in 1720 he briefly visited Vienna .
Document 13: Così fan tutte: Così fan tutte, ossia La scuola degli amanti (Italian: (koˈsi ffan ˈtutte osˈsiːa la ˈskwɔːla deʎʎ aˈmanti; koˈzi); Thus Do They All, or The School for Lovers), K. 588, is an Italian - language opera buffa in two acts by Wolfgang Amadeus Mozart first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.
Document 14: La pastorella nobile: La pastorella nobile ("The Noble Shepherdess") is an "commedia per musica" in two acts by Pietro Alessandro Guglielmi. The Italian libretto was by Francesco Saverio Zini.
Document 15: Senesino: Senesino was the son of a barber from Siena (hence his stage-name). He joined the cathedral choir there in 1695 and was castrated at the comparatively late age of thirteen. His debut was at Venice in 1707, and during the next decade he acquired a European reputation and, by the time he sang in Lotti's "Giove in Argo" in 1717 at Dresden, a commensurately enormous salary.
ground_truth: opera
sub_queries: La pastorella nobile >> composer Answer: Pietro Alessandro Guglielmi
Pietro Alessandro Guglielmi >> genre Answer: opera