Question: Who wrote comic opera, Gianni Schicchi, which features the soprano aria sung by Lauretta?

Context articles: Gianni Schicchi
Gianni Schicchi discography
Giuseppe De Luca
Anna Nechaeva
Ernesto Badini
O mio babbino caro
Insertion aria
Repertoire of Plácido Domingo
Jean-Claude Auvray
James Olds (bass-baritone)

Gianni Schicchi (] ) is a comic opera in one act by Giacomo Puccini to an Italian libretto by Giovacchino Forzano, composed in 1917–18.
 The libretto is based on an incident mentioned in Dante's "Divine Comedy".
 The work is the third and final part of Puccini's "Il trittico" (The Triptych)—three one-act operas with contrasting themes, originally written to be presented together.
 Although it continues to be performed with one or both of the other "trittico" operas, "Gianni Schicchi" is now more frequently staged either alone or with short operas by other composers.
 The aria "O mio babbino caro" is one of Puccini's best known, and one of the most popular arias in opera.
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".
Giuseppe De Luca (25 December 1876 – 26 August 1950), was an Italian baritone who achieved his greatest triumphs at the Metropolitan Opera in New York City.
 He notably created roles in the world premieres of two operas by Giacomo Puccini: Sharpless in "Madama Butterfly" (at La Scala, Milan, 1904) and the title role in "Gianni Schicchi" (Metropolitan Opera, 1918).
Anna Nechaeva is Russian soprano singer who was born in Saratov and used attend its Conservatory in 1996.
 Later she was offered to perform the role of "Tatiana" in "Eugene Onegin" at the Saint Petersburg Conservatory and by 2003 became a soloist at the Saint Petersburg Opera where she continued her original role as well as other title roles in Giacomo Puccini's "Gianni Schicchi", Madama Butterfly, and "Suor Angelica".
 From 2008 to 2011 she became a soloist at the Mikhaylovsky Theatre where she performed roles of "Nedda" in "Pagliacci" and "Rachel" in "The Jews" as well as the title roles of "Rusalka" and of course "Tatiana" in "Eugene Onegin".
 In 2012, she made her first public appearance with Bolshoi Theatre where she sang in "The Enchantress" portraying "Nastasya" becoming soloist there the same year.
 After her debut, she performed such roles as "Iolanta" in an opera of the same name as well as "Liu" in "Turandot" and "Yaroslavna" in "Prince Igor".
Ernesto Badini (born San Colombano al Lambro, 14 September 1876; died Milan, 6 July 1937) was an Italian opera singer that sang in the baritone range.
 He was trained at Milan Conservatory and made his debut as Matteo (in "Frà Diavolo") at Lodi's Teatro Gaffurio in 1896.
 Badini was a regular performer at Milan's La Scala and achieved his greatest success in the comic role of Puccini's Gianni Schicchi.
"O mio babbino caro " ("Oh My Beloved Father") is a soprano aria from the opera "Gianni Schicchi" (1918) by Giacomo Puccini to a libretto by Giovacchino Forzano.
 It is sung by Lauretta after tensions between her father Schicchi and the family of Rinuccio, the boy she loves, have reached a breaking point that threatens to separate her from Rinuccio.
 It provides an interlude expressing lyrical simplicity and single-hearted love in contrast with the atmosphere of hypocrisy, jealousy, double-dealing, and feuding in the medieval Florence of Puccini's only comedy.
 It provides the only set-piece in the through-composed opera.
An insertion aria (also known as interpolated aria, trunk aria, or aria di baule in Italian) is an aria sung in an opera for which it was not composed.
 It was a practice that began in the seventeenth century and continued actively through the late 19th century and sporadically through the 20th century.
 The insertion aria could replace an existing aria, or might be added to an opera.
 All insertions were planned in advance.
 They might be composed by the same composer of the opera, or might have been written by a different composer, with or without the knowledge of the opera's composer.
 Most insertions were of arias; infrequently non-operatic songs were inserted.
 Insertions could consist of arias, duets, ensembles, even entire scenes.
 Although men and women singers used insertion, women are the ones most remembered for the practice.
 The years 1800–1840 represent the apex of influence that women singers exerted over the operatic stage, influencing most aspects of opera performances, including insertions.
Spanish tenor Plácido Domingo has officially sung 147 roles in Italian, French, German, English, Spanish and Russian.
 His main repertoire however is Italian ("Otello", Cavaradossi in "Tosca", "Don Carlo", Des Grieux in "Manon Lescaut", Dick Johnson in "La fanciulla del West", Radames in "Aida"), French ("Faust", "Werther", Don José in "Carmen", Samson in "Samson et Dalila"), and German ("Lohengrin", "Parsifal", and Siegmund in "Die Walküre").
 Domingo currently continues to add more operas to his repertoire.
 Since 2009, he has moved substantially into the baritone repertoire, especially focusing on Verdi baritone roles.
 In 2015, he made his most recent debuts as Macbeth at the Berliner Staatsoper, Don Carlo in "Ernani" at the Metropolitan Opera, and Gianni Schicchi at the Los Angeles Opera.
 Tim Page, a Pulitzer Prize-winner for music criticism, described Domingo in a 1996 "Washington Post" article as "the most versatile, intelligent and altogether accomplished operatic tenor now before the public."
Jean-Claude Auvray is a French opera director.
 In 1973 he was appointed by Rolf Libermann to direct the Paris Opera in their productions of Puccini's "Tosca" (Puccini) and Mozart's "Così fan tutte". "
Le Nozze di Figaro" was acclaimed in 1974.
 Among his 150 and more productions are "Tancredi" (Rossini), "La Gioconda" (Ponchielli), "Tristan und Isolde" (Wagner), "Manon" (Massenet), "Peter Grimes" (Britten), "Fidelio" (Beethoven), "Otello, "Aida" (Verdi), "La bohème" and "Gianni Schicchi" (Puccini).
 Between 1996 and 2006 he directed plays at the Israeli Opera.
James Andrew Olds (born 20 February 1986) is an Australian bass-baritone.
 He has performed with Opera Australia, Diva Opera, Musica Viva, London Contemporary Opera and was a Young Artist with Pacific Opera.
 Olds had over 100 performances with the Opera Australia chorus before relocating to London in 2012 to accept a scholarship for the Artist Masters Programme at the Guildhall School of Music and Drama.
 In 2013, Olds performed at Wigmore Hall as a finalist in the Australian Music Foundation Award and performed the role of Betto in Puccini's "Gianni Schicchi" for St. Paul's Summertime Opera.
 For the Guildhall School of Music and Drama's Opera Scenes showcases, Olds has performed the roles of Rocco ("Fidelio", Beethoven), Dr Dulcamara ("L'elisir d'amore", Donizetti) and Leporello ("Don Giovanni", Mozart).
 Also in 2013, he traveled the United Kingdom and France with Diva Opera performing the role of Un Ufficiale in Rossini's "The Barber of Seville".
 Olds was the winner of the 34th National Liederfest in Melbourne and recently worked with Elly Ameling, Helmut Deutsch and Julius Drake at the Franz-Schubert-Institut in Baden bei Wien, Austria.
 In 2015, Olds performed the role of Count Almaviva in "The Marriage of Figaro" for Rockdale Opera Company.
 In 2016, Olds will be performing the role of Officer in "The Barber of Seville" for Opera Australia.