Question: How many acts are in both Iphigénie en Aulide and  La fanciulla del West?

<P0-S0>  The libretto was written by François-Louis Gand Le Bland Du Roullet and was based on Jean Racine's tragedy "Iphigénie". <P0-S1>  It was premiered on 19 April 1774 by the Paris Opéra in the second Salle du Palais-Royal and revived in a slightly revised version the following year. <P0-S2> Iphigénie en Aulide ("Iphigeneia in Aulis") is an opera in three acts by Christoph Willibald Gluck, the first work he wrote for the Paris stage. <SEP> <P1-S0> 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). <P1-S1>  Gluck knew the Archduchess Maria Amalia well as she had sung in two of his operas, "Il Parnaso confuso" and "La corona", in Vienna. <P1-S2>  The composer recycled a lot of music from his earlier operas in the score of "Le feste". <P1-S3>  In fact, the whole of the third act, "Orfeo", is a shorter reworking of his most famous piece, "Orfeo ed Euridice" (1762). <P1-S4>  The overture to the prologue is taken from "Telemaco". <P1-S5>  Gluck later reused some of the choruses in two of the operas he wrote for Paris, "Iphigénie en Aulide" and "Iphigénie en Tauride". <SEP> <P2-S0> Frank Guarrera (December 3, 1923 – November 23, 2007) was an Italian-American lyric baritone who enjoyed a long and distinguished career at the Metropolitan Opera, singing with the company for a total of 680 performances. <P2-S1>  He performed 35 different roles at the Met, mostly from the Italian and French repertories, from 1948 through 1976. <P2-S2>  His most frequent assignments at the house were as Escamillo in Georges Bizet's "Carmen", Marcello in Giacomo Puccini's "La Bohème", Valentin in Charles Gounod's "Faust", and Ping in Puccini's "Turandot". <P2-S3>  He was also an admired interpreter of Mozart roles, establishing himself in the parts of both Guglielmo and Don Alfonso in "Così fan tutte" and Count Almaviva in "Le nozze di Figaro". <P2-S4>  Most of the roles he portrayed were from the lyric repertoire, such as the title role in Tchaikovsky's "Eugene Onegin", but he also sang some heavier roles at the Met like Amonasro in "Aïda", Jack Rance in "La fanciulla del West" and Il conte di Luna in "Il trovatore". <SEP> <P3-S0>  "Fanciulla" followed "Madama Butterfly", which was also based on a Belasco play. <P3-S1>  The opera has fewer of the show-stopping highlights that are characteristic of other Puccini works, but is admired for its impressive orchestration and for a score that is more melodically integrated than is typical of his previous work. <P3-S2>  "Fanciulla" displays influences from composers Claude Debussy and Richard Strauss, without being in any way imitative. <P3-S3>  Similarities between the libretto and the work of Richard Wagner have also been found, though some attribute this more to the original plot of the play, and have asserted that the opera remains quintessentially Italian. <P3-S4> La fanciulla del West ("The Girl of the West") is an opera in three acts by Giacomo Puccini to an Italian libretto by and , based on the play "The Girl of the Golden West" by the American author David Belasco.