Context_1 : "Un bel dì vedremo " ("One fine day we’ll see") is a soprano aria from the opera "Madama Butterfly" (1904) by Giacomo Puccini to a libretto by Luigi Illica and Giuseppe Giacosa. It is sung by Cio-Cio San/Madama Butterfly (on stage with Suzuki), when she imagines and performs the return of Pinkerton on a white ship, signalled by a thread of smoke on the far horizon. Context_2 : Acis et Galatée ("Acis and Galatea") is an opera by Jean-Baptiste Lully. Unlike most of his operas, which are designated "tragédies en musique", Lully called this work a "pastorale-héroïque", because it was on a pastoral theme and had only three acts (plus a prologue) compared to the usual five. Otherwise, there is little musically or dramatically to distinguish it from Lully's "tragédies". Context_3 : Emilio Venturini (1878 - 1952) was an Italian operatic lyric tenor known for his portrayal of character roles. He made his professional opera debut in 1900 in Italy where he remained for the next several years. In 1901 he sang the role of Brighella in Mascagni's "Le maschere" at the Teatro Regio in Turin. He made his La Scala debut in 1903 as Froh in Wagner's "Das Rheingold" and sang in the premiere of Umberto Giordano's "Siberia". In 1904, he originated the role of Prince Yamadori in Puccini's "Madama Butterfly" at La Scala. In 1905, Venturini joined the roster of the Opéra National de Paris. In 1907 he moved to London to sing with Royal Opera at Covent Garden. In 1910, Venturini became a member of the Chicago Opera Association where he performed roles until the summer of 1917. While in Chicago he sang mostly character parts but did sing some major roles like Turiddu in "Cavalleria rusticana", Edgardo in "Lucia di Lammermoor" and the Pinkerton in "Madama Butterfly". In 1911 he sang the roles of Cassio in Verdi's "Otello" and Spoletta in Puccini's "Tosca" at the Metropolitan Opera. Venturini also returned to Italy for brief periods in 1910, 1911, and 1916 to perform roles with the Teatro Massimo in Palermo. In 1921, Venturini joined the roster at La Scala and sang roles with that opera house until 1948. He notably originated the roles of Il Tempiere in Boito's "Nerone" in 1924 and Pang in Puccini's "Turandot" in 1926. and was the first to record the role of Nereo in Boito's "Mefistofele" in the 1931 La Scala recording. Context_4 : "The Dancing Girl" (舞姫 , Maihime ) was the first published short story by the Japanese writer Mori Ōgai. The story first appeared in "Kokumin no Tomo" (People's Friend, 国民之友) in 1890, and is based on Mori's own experiences as a medical student in Germany. In some ways, this tale foreshadows Puccini's "Madama Butterfly", which deals with a similar theme but with a slight role reversal: in "Madama Butterfly", a Western man abandons a Japanese woman, while in "The Dancing Girl" a Japanese man leaves a Western woman. Context_5 : Madame Butterfly (Italian: Madama Butterfly ) is a 1954 Italian-Japanese musical film directed by Carmine Gallone and starring Kaoru Yachigusa, Nicola Filacuridi and Michiko Tanaka. It is based on the opera "Madama Butterfly" by Giacomo Puccini. Context_6 : Zheng Cao (July 9, 1966February 21, 2013) was a Chinese-born, American operatic mezzo-soprano known for her signature role of Suzuki in "Madama Butterfly". She performed this role with opera companies such as San Francisco Opera, Grand Théâtre de Genève, Pittsburgh Opera, Vancouver Opera, Washington National Opera, San Diego Opera, and under the baton of Seiji Ozawa with the Boston Symphony Orchestra. Her portrayal of the role of Cherubino in "The Marriage of Figaro" also earned her recognition at several American opera companies, including San Francisco Opera, Pittsburgh Opera, and Houston Grand Opera. She died from lung cancer in San Francisco, California in 2013. Context_7 : Madama Butterfly (] ; "Madam Butterfly") is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. Context_8 : The story of the love of Acis and the sea-nymph Galatea appears in Ovid's "Metamorphoses". There the jealous Cyclops Polyphemus, who also loves Galatea, comes upon them embracing and crushes his rival with a boulder. His destructive passion comes to nothing when Galatea changes Acis into a river spirit as immortal as herself. The episode was made the subject of poems, operas, paintings and statues in the Renaissance and after. Context_9 : Madame Butterfly: A Tragedy of Japan is a play in one act by David Belasco adapted from John Luther Long's 1898 short story "Madame Butterfly". It premiered on March 5, 1900, at the Herald Square Theatre in New York City and became one of Belasco's most famous works. The play and Long's short story served as the basis for the libretto of Puccini's 1904 opera, "Madama Butterfly". The title role was originally played in New York and London by Blanche Bates; in 1900–01 in New York by Valerie Bergere; and in 1913 by Clara Blandick. Context_10 : Acis and Galatea (HWV 49) is a musical work by George Frideric Handel with an English text by John Gay. The work has been variously described as a serenata, a masque, a pastoral or pastoral opera, a "little opera" (in a letter by the composer while it was being written), an entertainment and in the New Grove Dictionary of Music an oratorio. The work was originally devised as a one-act masque which premiered in 1718. fact_1 :  The work was originally devised as a one-act masque which premiered in 1718. fact_2 : Madama Butterfly (] ; "Madam Butterfly") is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. Question: Which opera originally consisted of more acts, Acis and Galatea or Madama Butterfly?
Output: Madama Butterfly