Question: Which Opera has more acts Nabucco or Mitridate, re di Ponto ?

full_context: Document 1: Die Entführung aus dem Serail: Die Entführung aus dem Serail (K. 384; The Abduction from the Seraglio; also known as Il Seraglio ) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of Pasha Selim. The work premiered on 16 July 1782 at the Vienna Burgtheater, with the composer conducting.
Document 2: La clemenza di Tito (Mysliveček): La clemenza di Tito ("The Clemency of Titus") is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was composed to a libretto by the Italian poet Metastasio that was first performed in 1734 with music of Antonio Caldara. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste (similar to the setting of the same text by Wolfgang Amadeus Mozart). The cuts and changes in the text made for the 1774 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria.
Document 3: Jérusalem: Jérusalem is a grand opera in four acts by Giuseppe Verdi. The libretto was to be an adaptation and partial translation of the composer's original 1843 Italian opera, "I Lombardi alla prima crociata". It was the one opera which he regarded as the most suitable for being translated into French and, taking Eugène Scribe's advice, Verdi agreed that a French libretto was to be prepared by Alphonse Royer and Gustave Vaëz, who had written the libretto for Donizetti's most successful French opera, "La favorite". The opera received its premiere performance at the Salle Le Peletier in Paris on 26 November 1847. The maiden production was designed by Paul Lormier (costumes), Charles Séchan, Jules Diéterle and Édouard Desplechin (sets of Act I, Act II, scene 1, Act III scene 1, and Act IV), and Charles-Antoine Cambon and Joseph Thierry (sets for Act II, scene 2 and Act III, scene 2).
Document 4: Simon Boccanegra: Simon Boccanegra (] ) is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play "Simón Bocanegra" (1843) by Antonio García Gutiérrez, whose play "El trovador" had been the basis for Verdi's 1853 opera, "Il trovatore".
Document 5: I Lombardi alla prima crociata: I Lombardi alla Prima Crociata ("The Lombards on the First Crusade") is an operatic "dramma lirico" in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on an epic poem by Tommaso Grossi, which was "very much a child of its age; a grand historical novel with a patriotic slant". Its first performance was given at the Teatro alla Scala in Milan on 11 February 1843. Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere.
Document 6: Mitridate, re di Ponto: Mitridate, re di Ponto ("Mithridates, King of Pontus"), K. 87 (74a), is an early opera seria in three acts by Wolfgang Amadeus Mozart. The libretto is by after Giuseppe Parini's Italian translation of Jean Racine's play "Mithridate".
Document 7: Mitridate Eupatore: Il Mitridate Eupatore ("Mithridates Eupator") is an opera seria in five acts by the Italian composer Alessandro Scarlatti with a libretto by Girolamo Frigimelica Roberti. It was first performed at the Teatro San Giovanni Grisostomo, Venice on 5 January, 1707. A failure at its premiere, "Mitridate Eupatore" is now considered one of the finest of Scarlatti's operas.
Document 8: Armida (Mysliveček): Armida is an opera in three acts by Josef Mysliveček set to a libretto by Giovanni Ambrogio Migliavacca based on an earlier libretto by Philippe Quinault. It is one of many operas set at the time of the Crusades that is based on characters and incidents from Torquato Tasso's epic poem "La Gerusalemme liberata". This opera (and all the rest of Mysliveček's operas) belong to the serious type in Italian language referred to as "opera seria". It incorporates many elements from the operatic "reform" movement of the 1770s, including short vocal numbers and short choruses incorporated into the fabric of the drama and lavish use of accompanied recitative.
Document 9: Otello: Otello (] ) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play "Othello". It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887.
Document 10: Aida: Aida (] ) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in Egypt, it was commissioned by and first performed at Cairo's Khedivial Opera House on 24 December 1871; Giovanni Bottesini conducted after Verdi himself withdrew. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, "Aida" has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera.
Document 11: Idomeneo: Idomeneo, re di Creta ossia Ilia e Idamante (Italian for "Idomeneus, King of Crete, or, Ilia and Idamante"; usually referred to simply as Idomeneo, K. 366) is an Italian language opera seria by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as "Idoménée" in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. He probably chose the subject, though it might have been Mozart. The work premiered on 29 January 1781 at the Cuvilliés Theatre in Munich, Germany.
Document 12: Teresa Ruggeri: Teresa Ruggeri (sometimes spelled Ruggieri) was an Italian operatic soprano who had an active career from the 1820s through the 1840s. In 1827 she portrayed the role of Zarele in the world premiere of Giovanni Pacini's "Gli arabi nelle Gallie" at La Scala in Milan. She performed in several more world premieres at that house, including Francisca in Gaetano Donizetti's "Maria Padilla" (1841), Anna in Giuseppe Verdi's "Nabucco" (1842), and Viclinda in Verdi's "I Lombardi alla prima crociata" (1843). Other roles she performed at La Scala included Baroness Aspasia in Gioachino Rossini's "La pietra del paragone" (1829), Giannetta in Donizetti's "L'elisir d'amore" (1835), Alisa in Donizetti's "Lucia di Lammermoor" (1839), The Marquise of Birkenfeld in "La fille du régiment" (1840), and Giovanna in Verdi's "Ernani" (1844) among others.
Document 13: Nabucco: Nabucco (] ; short for Nabucodonosor ] ~] , English Nebuchadnezzar) is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on biblical books of Jeremiah and Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue, although Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of "Nabucodonosor", the opera was first performed at La Scala in Milan on 9 March 1842.
Document 14: Adriano in Siria (Mysliveček): Adriano in Siria ("Hadrian in Syria") is an 18th-century Italian opera seria in 3 acts by the Czech composer Josef Mysliveček. It was composed to a libretto of the same name by the Italian poet Metastasio that was first performed in 1732 with music of Antonio Caldara and in more than 60 further settings until 1828. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. No other of the composer's settings of Metatasio's texts contains as many substitute aria texts as this one does. The cuts and changes in the text made for the 1776 performance of Mysliveček's opera are not attributable.
Document 15: Giulio Sabino: The opera, staged in six or seven European countries at the end of the 18th century, was the subject of a parody in Antonio Salieri's 1786 work "Prima la musica e poi le parole".
ground_truth: Nabucco