Question: Were both Palestrina and A Midsummer Night's Dream composed by Hans Pfitzner?

Context articles: Die Rose vom Liebesgarten
Das Christ-Elflein
Palestrina (opera)
A Midsummer Night's Dream (opera)
Paul Kuhn (tenor)
A Midsummer Night's Dream (ballet)
Luise Willer
The Donkey Show (musical)
Friedrich Brodersen
Fritz Schaetzler

Die Rose vom Liebesgarten is a 1900 opera by Hans Pfitzner to a libretto by James Grun, one of Pfitzner's fellow students at the Frankfurt Conservatory, which had been prompted by an 1890 painting by Hans Thoma "Der Wächter vor dem Liebesgarten".
Das Christ-Elflein ("The Little Elf of Christ") is an opera in two acts by Hans Pfitzner to a German-language libretto by Pfitzner and Ilse von Stach.
 The work was originally premiered in 1906 as a Christmas play by von Stach with incidental music by Pfitzner.
 It was later revised by the composer into a two-act opera (the version performed today) which premiered in Dresden on 11 December 1917.
Palestrina is an opera by the German composer Hans Pfitzner, first performed in 1917.
 The composer referred to it as a "Musikalische Legende" (musical legend), and wrote the libretto himself, based on a legend about the Renaissance musician Giovanni Pierluigi da Palestrina, who saves the art of contrapuntal music (polyphony) for the Church in the sixteenth century, through his composition of the "Missa Papae Marcelli".
 The wider context is that of the European Reformation and the role of music in relation to it.
 The character of Cardinal Borromeo is depicted, and a General Congress of the Council of Trent is the centrepiece of Act II.
A Midsummer Night's Dream, Op.
 64, is an opera with music by Benjamin Britten and set to a libretto adapted by the composer and Peter Pears from William Shakespeare's play, "A Midsummer Night's Dream".
 It was premiered on 11 June 1960 at the Aldeburgh Festival, conducted by the composer and with set and costume designs by Carl Toms.
 Stylistically, the work is typical of Britten, with a highly individual sound-world – not strikingly dissonant or atonal, but replete with subtly atmospheric harmonies and tone painting.
 The role of Oberon was composed for the countertenor Alfred Deller.
 Atypically for Britten, the opera did not include a leading role for his partner Pears, who instead was given the comic drag role of Flute/Thisbe.
Paul Kuhn (12 September 1874, Schlesien – 20 June 1966, New York City) was a German operatic tenor who specialized in the buffo repertoire.
 He studied singing in Breslau and performed at important opera houses and festivals in Germany and Austria like the Bavarian State Opera, the Bayreuth Festival, the Darmstadt Opera, and the Salzburg Festival.
 He notably portrayed the role of Mateo in the world premiere of Erich Wolfgang Korngold's "Violanta" at the National Theatre Munich in 1916.
 In 1917, he created the role of Bernardo Novagerio in the premiere of Hans Pfitzner's "Palestrina" at the Prinzregententheater.
 In 1933, he and his wife, Charlotte Kuhn-Brunner, moved to the United States for political reasons.
A Midsummer Night's Dream is a two-act ballet choreographed by George Balanchine to Felix Mendelssohn's music to Shakespeare's play of the same name.
 In addition to the incidental music, Balanchine incorporated other Mendelssohn works into the ballet, including the Overtures to "Athalie", "Son and Stranger", and "The Fair Melusine", the "String Symphony No. 9 in C minor" and "The First Walpurgis Night".
 "A Midsummer Night's Dream", Balanchine's first completely original full-length ballet, premiered at New York City Ballet on 17 January 1962, with Edward Villella in the role of Oberon, Melissa Hayden in the role of Titania, and Arthur Mitchell in the role of Puck.
 The ballet employs a large children's corps de ballet.
 Act I tells Shakespeare's familiar story of lovers and fairies while Act II presents a strictly classical dance wedding celebration.
 The ballet dispenses with Shakespeare's play-within-a-play finale.
 "A Midsummer Night's Dream" opened The New York City Ballet's first season at the New York State Theater in April, 1964.
Luise Willer (1888–1970) was a German operatic contralto.
 She made her professional opera debut in 1910 as Annius in Wolfgang Amadeus Mozart's "La clemenza di Tito".
 She spent most of her career performing at the Bavarian State Opera in Munich.
 At the Bayreuth Festival, she portrayed Brängane in "Tristan und Isolde".
 She created roles in several world premieres during her career, including Barbara in Erich Wolfgang Korngold's "Violanta" (1916), Lukrezia in Hans Pfitzner's "Palestrina" (1917), Graben-Liese in Franz Schreker's "Das Spielwerk" (1920), and Herzogin in Pfitzner's "Das Herz" (1931) among others.
The Donkey Show: A Midsummer Night's Disco is a theatrical adaptation of Shakespeare's "A Midsummer Night's Dream".
 The production, created in a disco-era style, was written by Diane Paulus and her husband Randy Weiner and the members of Project 400, Emily Hellstrom, Jordin Ruderman, Rachel Murdy and Anna Wilson.
 It first appeared Off-Broadway, opening August 18, 1999.
 The show subsequently ran for six years including venues in England, Scotland, France and Spain.
 After a successful run at the Edinburgh Festival the Donkey Show show came to London for a 8 month run in Londons West End (Hanover Grand).
 The London show was produced by David Babani and Graham Kentsley.
 Rob Goodmonson (NYC) played the part of the DJ in the UK production.
 In 2009, the show was revived by the American Repertory Theater in Cambridge, Massachusetts, for which Paulus is Artistic Director.
 The club/theater space used in Cambridge is called OBERON, after the king of the fairies in "A Midsummer Night's Dream".
Friedrich Brodersen (1 December 1873 - 19 March 1926) was a German operatic baritone.
 Born in Bad Boll, he studied singing with Heinrich Bertram.
 He made his professional opera debut in 1900.
 He created roles in several world premieres during his career, including Pantalone in Ermanno Wolf-Ferrari's "Le donne curiose" (1903), Count Gil in Wolf-Ferrari's "Il segreto di Susanna" (1909), Simone Trovai in Erich Wolfgang Korngold's "Violanta" (1916), Morone in Hans Pfitzner's "Palestrina" (1917), Sang in Heinrich Rohr's "Das Vaterunser", and roles in Paul von Klenau's "Sulamith" (1913), and Walter Braunfels's "Die Vögel" (1920).
Fritz Schaetzler (May 13, 1898 – February 3, 1994) was a German baritone and "Kammersänger."
 He studied under Anna Bahr-Mildenburg.
 From 1919 to 1922, he was engaged at the Nationaltheater München; from 1922-1947, he was engaged at the Staatsoper Stuttgart.
 Concealing physical disabilities, including an amputated leg and a paralyzed hand, that resulted from injuries suffered during the Second Battle of Flanders, he performed throughout Europe (Prague, Bordeaux, Oslo et al.).
 Over the course of his career, he collaborated with prominent conductors and composers of the era (Hans Knappersbusch, Clemens Krauss, Bruno Walter, Wilhelm Furtwaengler, Richard Strauss, Hans Pfitzner, Carl Orff, Ernst Krenek et al.).
 Roles included Wolfram, Beckmesser, Figaro, Rigoletto, Tonio.