One-act operas tend to be orphans. Too short for an evening's entertainment, they are sometimes presented in twos or threes at festivals or used in opera workshops. With the exception of a handful of works like Bluebeard's Castle, Ewartung and Cavalleria Rusticana, they are rarely presented to the general operatic public.

In many cases that's just as well, of course. The vast majority of full-length operas that have been written languish in obscurity after all, and that's where the majority belong. One-acters have their fair share of clunkers and works of mediocrity too.

But there are exceptions, and Nancy Van de Vate's In the Shadow of the Glen, a lyrical work of wistful whimsy based upon John Millington Synge's play of the same name. Written in 1960, the opera was not produced until 1999. Discouraged with being unable to secure a performance, the composer turned away from operatic composition for almost thirty years.

This early effort is by no means a masterpiece, but it is sincere and atmospheric. It is written in an approachable, almost naive style that was popular with American opera composers at the time, harmonically conservative and closely text-driven in its melodic contours.

The recorded performance, supervised by the composer and sung more than competently, does the opera basic justice. Still, I'm left with the impression that the score would support a greater breadth of wit and depth of feeling.

The other opera on this CD, The Death of the Hired Man, was written for "young performers." It does not attempt to create high drama from the simple dignity of Robert Frost's text. Its chief merit is that it is very performable, requiring just two singers, flute, cello, percussion and piano. Neither of the vocal parts is particularly demanding, making it ideal for student presentation. The performers on the CD are considerably better than most students, of course, and this modest opera offers the listener modest pleasure.

There is another item on the CD, Venal Vera, an Ode to a Gezira lovely. It is described as a theatre piece for soprano and two instruments - bass clarinent and percussion. There is wit and sophistication in this twelve-minute piece, but its cleverness is used up before it's quite finished.

Van de Vate has written and recorded full-length operas in recent years and if I can get my hands on the recordings, I'll certainly review them.