Question: Frank Mullings filled the title roll in the stage performance of which opera based on a play by Shakespeare?

<P0-S0> Patrick "Schoolboy" Mullings ( (1970--) 19 1970 (age 47 ) ) born in Harlesden is an English amateur bantamweight and professional super bantam/feather/super featherweight boxer of the 1990s and 2000s, who as an amateur was the runner-up for the 1990 Amateur Boxing Association of England (ABAE) bantamweight title, against Paul Lloyd (Vauxhall Motors ABC (Ellesmere Port)), and won the 1992 Amateur Boxing Association of England (ABAE) bantamweight title, against Michael Alldis (Crawley ABC), boxing out of St Patricks ABC, and as a professional won the World Boxing Council (WBC) International super bantamweight title, International Boxing Organization (IBO) super bantamweight title, BBBofC (BBBofC) British super bantamweight title, International Boxing Organization (IBO) Inter-Continental super bantamweight title, and Commonwealth featherweight title, and was a challenger for the BBBofC Southern Area super bantamweight title against Spencer Oliver, and International Boxing Organization super bantamweight title against Simon Ramoni, his professional fighting weight varied from 119 lb , i.e. bantamweight to 127 lb , i.e. super featherweight. <P0-S1>  Patrick Mullings was managed by Frank Maloney. <SEP> <P1-S0> Otello (] ) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play "Othello". <P1-S1>  It was Verdi's penultimate opera, and was first performed at the Teatro alla Scala, Milan, on 5 February 1887. <SEP> <P2-S0> Frank Mullings (10 March 1881 – 19 May 1953) was a leading English tenor with Sir Thomas Beecham's Beecham Opera Company and its successor, the British National Opera Company, during the 1910s and 1920s. <P2-S1>  Blessed with a strong stage presence and a voice that provoked varying reactions from critics, his repertoire included such taxing dramatic parts as Tristan in "Tristan und Isolde", Radames in "Aida", the title role in "Otello", and Canio in "Pagliacci." <P2-S2>  The limitations of early microphones meant that his voice was not always recorded successfully, although the British National Opera Company website notes that playing the recordings at 80 rpm produces a more reliable result. <SEP> <P3-S0> La pravità castigata ("Depravity Punished") is a 1730 pastiche with music by multiple composers and an Italian language libretto by Antonio Denzio. <P3-S1>  It is the first 18th-century opera based on the Don Juan legend. <P3-S2>  It was also the first opera ever produced that retains the original setting and at least some of the original character names derived from early 17th-century dramatic prototypes of the Don Juan legend, the most important of which is Tirso de Molina's play El burlador de Sevilla y convidado de piedra. <P3-S3>  "La pravità castigata" was originally performed during Lent of 1730 in the opera theater of Franz Anton von Sporck in Prague, then revived with new music by Eustachio Bambini in Brno in 1734. <P3-S4>  Unfortunately, the Brno performance was regarded as the original production for decades, and a published transcription of the libretto (which is missing two scenes from the Prague production) identifies it incorrectly as an anonymous text first performed in Brno.