Question: Who was born first, Claude Debussy or Gian Carlo Menotti?

Context articles: The Medium
Gian Carlo Menotti
Amelia Goes to the Ball
The Telephone
The Hero (opera)
Help, Help, the Globolinks!
The Last Savage
Labyrinth (opera)
Martin's Lie
Claude Debussy

The Medium is a short (one-hour-long) two-act dramatic opera with words and music by Gian Carlo Menotti.
 Commissioned by Columbia University, its first performance was there on 8 May 1946.
 The opera's first professional production was presented on a double bill with Menotti's "The Telephone" at the Heckscher Theater, New York City, February 18–20, 1947 by the Ballet Society.
 The Broadway production took place on May 1, 1947, at the Ethel Barrymore Theater with the same cast.
Gian Carlo Menotti (] ; July 7, 1911 – February 1, 2007) was an Italian-American composer and librettist.
 Although he often referred to himself as an American composer, he kept his Italian citizenship.
 He wrote the classic Christmas opera "Amahl and the Night Visitors", along with over two dozen other operas intended to appeal to popular taste.
Amelia al ballo ("Amelia Goes to the Ball") is a one-act "opera buffa" by Gian Carlo Menotti, who set his own Italian libretto.
 Composed during 1936 when Menotti was in his mid-twenties, it was the composer's first mature opera and first critical success.
 The opera recounts a series of farcical events as a young Italian socialite overcomes obstacles to her attendance at the first ball of the season.
The Telephone, or L'Amour à trois is an English-language comic opera in one act by Gian Carlo Menotti, both words and music.
 It was written for production by the Ballet Society and was first presented on a double bill with Menotti's "The Medium" at the Heckscher Theater, New York City, February 18–20, 1947.
 The Broadway production took place on May 1, 1947, at the Ethel Barrymore Theatre.
 The Metropolitan Opera presented it once, on July 31, 1965.
The Hero is a two-act opera by Italian-American composer Gian Carlo Menotti.
 Commissioned by the Opera Company of Philadelphia, the work premiered at the Philadelphia Academy of Music on June 1, 1976.
 At this point of his career, Menotti's style of composition, which rejected the avant-garde, was out of favor with the classical music world. "
Time" stated in its review of the opera, "Most of Menotti's music is passable Puccini: melodic, easy to take—and totally beside the point in 1976."
Help, Help, the Globolinks!
 is an opera in four scenes by Gian Carlo Menotti with an original English libretto by the composer.
 It was commissioned by the Hamburg State Opera and first performed as "Hilfe, Hilfe, die Globolinks!"
 in a German translation by on December 21, 1968 in a double bill with Menotti's "Amahl and the Night Visitors".
 The opera had its English language premiere on August 1, 1969 in the United States at the Santa Fe Opera in a double bill with Igor Stravinsky's "The Nightingale".
 Both premiere productions were directed by the composer.
 Many of the cast members from the Santa Fe production reprised their roles for the work's New York debut at the New York City Opera in December 1969.
The Last Savage is an opera in three acts by composer Gian Carlo Menotti.
 Menotti wrote his own libretto, originally in the Italian language ("L'ultimo selvaggio").
 The opera was translated into French ("Le dernier sauvage") by Jean-Pierre Marty for the work's first (private) performance at the Opéra-Comique in Paris on 21 October 1963, followed the next day by the public premiere.
 George Mead translated the work into English for the opera's American premiere at the Metropolitan Opera the following year.
Labyrinth is an opera in one act by composer Gian Carlo Menotti.
 The work was commissioned for television by the NBC Opera Theatre and uses an English language libretto by the composer.
 Unlike Menotti's previous television operas, such as "Amahl and the Night Visitors", this opera was written with no intention of being moved to live stage performance later.
 Menotti intended for this work to utilize the special effects unique to television which could not be recreated in live theatre.
 As a result, NBC's television production of the opera is the only performance the work has received.
 At its premiere in March 1963 the opera was mainly criticized by the press for its trite use of allegory and music which rejected the avante garde in favour of romanticism.
 Critic Harold C. Schonberg stated in his review in "The New York Times" that, "Menotti falls back on the procedures he has always used: the scraps of canonic imitation, the stretches of parlando, the Puccini like melodies, the banal waltz themes... [It] ended up an allegory that had all the dimension of a Mobius strip: an example of slick television and cinema of the 1960s wedded pretty much to music of the 1890s... On the whole "Labyrinth" is one of the thinnest musical concoctions Menotti has ever put together.
Martin's Lie is a chamber opera in one act with music and an English language libretto by Gian Carlo Menotti.
 Commissioned by CBS, it was Menotti's third opera for television after "Amahl and the Night Visitors" and "Labyrinth".
 Although not initially conceived as a work for the stage, the opera premiered in a live theatrical performance on 3 June 1964 at the Bristol Cathedral for the opening of the 17th annual Bath International Music Festival.
 The opera was subsequently filmed with the same cast for television under the direction of Kirk Browning.
 The production used sets and costumes by designer Anthony Powell, and was broadcast nationally by CBS for the opera's United States premiere on 30 May 1965.
Achille-Claude Debussy (] , 22 August 1862 – 25 March 1918), known since the 1890s as Claude-Achille Debussy or Claude Debussy, was a French composer.
 He and Maurice Ravel were the most prominent figures associated with Impressionist music, though Debussy disliked the term when applied to his compositions.
 He was made Chevalier of the Legion of Honour in 1903.
 He was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed.