Context_1 : Styled a "festa teatrale", "Le feste d'Apollo" consists of a prologue and three self-contained acts on the model of French "opéra-ballet" (the court of Parma was passionately interested in French culture). Gluck knew the Archduchess Maria Amalia well as she had sung in two of his operas, "Il Parnaso confuso" and "La corona", in Vienna. The composer recycled a lot of music from his earlier operas in the score of "Le feste". In fact, the whole of the third act, "Orfeo", is a shorter reworking of his most famous piece, "Orfeo ed Euridice" (1762). The overture to the prologue is taken from "Telemaco". Gluck later reused some of the choruses in two of the operas he wrote for Paris, "Iphigénie en Aulide" and "Iphigénie en Tauride". Context_2 : Rescue opera was a popular genre of opera in the late 18th and early 19th centuries in France and Germany. Generally, rescue operas deal with the rescue of a main character from danger and end with a happy dramatic resolution in which lofty humanistic ideals triumph over base motives. Operas with this kind of subject matter became popular in France around the time of the French Revolution; a number of such operas dealt with the rescue of a political prisoner. Stylistically and thematically, rescue opera was an outgrowth of the French bourgeois "opéra comique"; musically, it began a new tradition that would influence German Romantic opera and French grand opera. The most famous rescue opera is Ludwig van Beethoven's "Fidelio". Context_3 : This is a list of the recordings of Gianni Schicchi, the third of a group of three one-act operas by Giacomo Puccini collectively known as "Il trittico"; the other operas are "Il tabarro" and "Suor Angelica". The three were premiered at the Metropolitan Opera on 14 December 1918, and for the next three years were always played together. After 1921, however, Puccini agreed that the operas could be performed separately. "Gianni Schicchi" became the most popular and most frequently performed of the three, often paired with other works such as Maurice Ravel's "L'heure espagnole" and Richard Strauss's "Salome". Context_4 : Fidelio is a 1958 Australian TV live recording of the opera "Fidelio". It was one of a number of operas presented by the Australian Broadcasting Corporation at the time. Context_5 : Giovanni Battista Ambrosiani (born 2 July 1772, Milan – 19 February 1832, Karlberg Palace) was an Italian ballet dancer. He arrived in Stockholm in 1795 and was taken on by the Royal Swedish Ballet as its premier danseur, then as its ballet master from 1823 to 1827. He was also dance master and gymnastics master at the Military Academy Karlberg until 1834. He notably created ballets for operas like "Il turco in Italia" by Rossini, "Preciosa" by Weber and "Fernand Cortez" by Spontini. Context_6 : José Francisco Araiza Andrade (born 4 October 1950), is a Mexican operatic tenor and lied singer who has sung as soloist in leading concert halls and in leading tenor operatic roles in the major opera houses of Europe and North America during the course of a lengthy career. Born in Mexico City, he studied singing at the Conservatorio Nacional de Música de México and later in Germany, with Mozartian tenor Richard Holm, and lieder interpretation with Erik Werba. He made his operatic debut in 1970 in Mexico City as First Prisoner in Beethoven's "Fidelio". Araiza initially came to international prominence singing in Mozart and Rossini operas, but in the 1980s broadened his repertoire to include Italian and French lyric tenor roles and Wagnerian roles such as Lohengrin and Walther von Stolzing. He was made a Kammersänger of the Vienna State Opera in 1988. Now retired from the opera stage, he teaches singing and serves on the juries of several international singing competitions. Context_7 : Hamam (Italian: "Il bagno turco" , also known as "Steam: The Turkish Bath") is a 1997 Italian-Turkish-Spanish film directed by Ferzan Özpetek about the powerful transformations certain places can cause in people. Context_8 : Fidelio (originally titled Leonore, oder Der Triumph der ehelichen Liebe ; English: "Leonore, or The Triumph of Marital Love"), Op. 72, is Ludwig van Beethoven's only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805. The following year, helped shorten the work from three acts to two. After further work on the libretto by Georg Friedrich Treitschke, a final version was performed at the Kärntnertortheater on 23 May 1814. By convention, both of the first two versions are referred to as "Leonore". Context_9 : Il turco in Italia (The Turk in Italy) is an opera in two acts by Gioachino Rossini. The Italian-language libretto was written by Felice Romani. It was a re-working of a libretto by Caterino Mazzolà set as an opera (with the same title) by the German composer in 1788. Context_10 : Alessandra Marianelli (born 1986) is an Italian soprano. She made her professional debut in 2002 as Barbarina in "Le nozze di Figaro" and went on to sing leading roles in the opera houses of her native country and internationally. Her recordings include Amour in "Orphée et Eurydice" for Decca Records and Fiorilla in "Il turco in Italia" for Naxos Records. She also appeared in Carlos Saura's 2009 film "Io, Don Giovanni". fact_1 :  The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805. fact_2 :  The Italian-language libretto was written by Felice Romani. Question: Are Fidelio and Il turco in Italia operas that are sung in the same language? 
Output: no