Question: Does Destiny or Don Giovanni have more acts?

Context articles: Statira principessa di Persia
Dom Juan
Artaserse (Hasse)
Destiny (Janáček)
Mala Pasqua!
Don Giovanni
Nina (opera)
Xerse
La serva padrona
Orlando finto pazzo

Statira principessa di Persia ("Stateira, Princess of Persia") is an opera - more specifically, a dramma per musica - in a prologue and three acts by Francesco Cavalli, set to a libretto by Giovanni Francesco Busenello.
 The opera was first performed in Venice at the Teatro SS.
 Giovanni e Paolo, on 18 January 1656.
Dom Juan or The Feast with the Statue (French: "Dom Juan ou le Festin de pierre" ] or simply Le Festin de pierre) is a French play, a comedy in five acts, written by Molière, and based on the legend of Don Juan.
 The title of Molière's play is also commonly expressed as Don Juan, a spelling that began in the seventeenth century.
 Molière's characters Dom Juan and Sganarelle are the French counterparts to the Spanish Don Juan and Catalinón, characters who are also found in Mozart's Italian opera "Don Giovanni" as Don Giovanni and Leporello.
 "Dom Juan" is the last part in Molière's hypocrisy trilogy, which also includes "The School for Wives" and "Tartuffe".
 It was first performed on 15 February 1665 in the Théâtre du Palais-Royal, with Molière playing the role of Sganarelle.
Artaserse is an opera ("dramma per musica") in three acts composed by Johann Adolph Hasse to an Italian libretto adapted from that by Metastasio by Giovanni Boldini.
 It premiered at the Teatro di San Giovanni Grisostomo in Venice on 11 February 1730, shortly after the libretto's first setting by Leonardo Vinci premiered in Rome 6 days earlier.
 Metastasio's libretto, "Artaserse", has been used in more than 90 works.
 Hasse himself would later re-work the score for performances at the Opernhaus am Zwinger in Dresden (1740) and the Teatro di San Carlo in Naples (1760).
Destiny (also known as "Fate", Czech: "Osud" ) is an opera in three acts by Leoš Janáček to a Czech libretto by the composer and Fedora Bartošová.
 Janáček began the work in 1903 and completed it in 1907.
 The inspiration for the opera came from a visit by Janáček in the summer of 1903, after the death of his daughter Olga, to the spa at Luhačovice.
 There, Janáček met Kamila Urválková, who had been the subject of an opera by Ludvík Čelanský, "Kamila", where she felt that Čelanský had falsely depicted her personality.
 After learning that Janáček was a composer, Urválková persuaded Janáček to write another opera to counteract Čelanský's portrait of her.
Mala Pasqua!
 (Bad Easter!)
 is an opera in three acts composed by Stanislao Gastaldon to a libretto by Giovanni Domenico Bartocci-Fontana.
 The libretto is based on Giovanni Verga's play, "Cavalleria rusticana" ("Rustic Chivalry") which Verga had adapted from his short story of the same name.
 "Mala Pasqua!"
 premiered on 9 April 1890 at the Teatro Costanzi in Rome, six weeks before Pietro Mascagni's opera "Cavalleria rusticana" which was also based on Verga's play.
 Bartocci-Fontana's libretto adds some elements that were not in Verga's original and expands on others.
 The name of the Santuzza character was also changed to Carmela, but the basic plot and setting remain the same.
 Its title refers to the curse which Carmela places on Turiddu, the lover who had spurned her: "Mala Pasqua a te!"
 ("May you have an evil Easter!")
.
 Following its Rome premiere "Mala Pasqua!"
 had a few more performances in Perugia and Lisbon, but it was completely eclipsed by the phenomenal success of Mascagni's opera.
 After the 1891 Lisbon run it was not heard again until 2010 when it was given a semi-staged performance in Agrigento, Sicily.
Don Giovanni (] ; K. 527; complete title: "Il dissoluto punito, ossia il Don Giovanni" , literally "The Rake Punished, namely Don Giovanni" or "The Libertine Punished") is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte.
 It is based on the legends of Don Juan, a fictional libertine and seducer.
 It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787.
 Da Ponte's libretto was billed as a "dramma giocoso", a common designation of its time that denotes a mixing of serious and comic action.
 Mozart entered the work into his catalogue as an "opera buffa".
 Although sometimes classified as comic, it blends comedy, melodrama and supernatural elements.
Nina, o sia La pazza per amore ("Nina, or the Girl Driven Mad by Love") is an opera, described as a "commedia in prosa ed in verso per musica", in two acts by Giovanni Paisiello to an Italian libretto by Giambattista (also "Giovanni Battista") Lorenzi after Giuseppe Carpani's translation of Benoît-Joseph Marsollier's "Nina, ou La folle par amour", set by Nicolas Dalayrac in 1786.
Xerse is an opera by Francesco Cavalli (specifically, a "dramma per musica") about Xerxes I.
 The libretto was written by Nicolò Minato, and was later set by both Giovanni Bononcini and George Frideric Handel.
 Minato's plot outline is loosely based on Book 7 of Herodotus's "Histories".
 The opera, consisting of a prologue and three acts, was first performed at Venice on the 12 January 1654, at the Teatro SS Giovanni e Paolo.
La serva padrona (The Servant Turned Mistress) is an opera buffa by Giovanni Battista Pergolesi (1710 – 1736) to a libretto by Gennaro Antonio Federico, after the play by Jacopo Angello Nelli.
 The opera is only 45 minutes long and was originally performed as an intermezzo between the acts of a larger serious opera.
 (The same libretto was set by Giovanni Paisiello in 1781.)
Orlando finto pazzo (] ; "Orlando, the Fake Madman") is an opera ("dramma per musica") in three acts composed by Antonio Vivaldi to a libretto by Grazio Braccioli.
 The plot is based on an episode in Matteo Boiardo's unfinished epic poem "Orlando Innamorato" (] ).
 The second of Vivaldi's known operas, "Orlando finto pazzo" premiered in November 1714 (dedication 10 November) at the Teatro Sant'Angelo in Venice.
 Vivaldi acted as impresario (in partnership with his father Giovanni Battista) as well as composer.
 Apparently the opera did not meet much approval from the audience and was billed only on few dates, just to be replaced, on 1 December, by a revival of Giovanni Alberto Ristori’s "Orlando furioso" (] ), a work that the Vivaldi ""impresa"" had very successfully staged in 1713.