Question: Are Bluebeard's Castle and The Beggar's Opera both one-act operas?

full_context: Document 1: Frederic Austin: Frederic Austin (30 March 187210 April 1952) was an English baritone singer, a musical teacher and composer in the period 1905–30. He is best remembered for his restoration and production of "The Beggar's Opera" by John Gay and Johann Christoph Pepusch, and its sequel, "Polly", in 1920–23. Austin was the older brother of the composer Ernest Austin (1874–1947).
Document 2: Charles Perrault: Charles Perrault (] ; 12 January 1628 – 16 May 1703) was a French author and member of the Académie Française. He laid the foundations for a new literary genre, the fairy tale, with his works derived from pre-existing folk tales. The best known of his tales include "Le Petit Chaperon Rouge" ("Little Red Riding Hood"), "Cendrillon" ("Cinderella"), "Le Chat Botté" ("Puss in Boots"), "La Belle au bois Dormant " ("The Sleeping Beauty"), and "Barbe Bleue" ("Bluebeard"). Some of Perrault's versions of old stories have influenced the German versions published by the Brothers Grimm more than 100 years later. The stories continue to be printed and have been adapted to opera, ballet (such as Tchaikovsky's "The Sleeping Beauty"), theatre, and film. Perrault was an influential figure in the 17th-century French literary scene, and was the leader of the Modern faction during the Quarrel of the Ancients and the Moderns.
Document 3: Polly (opera): Polly is a ballad opera with text by John Gay and music by Johann Christoph Pepusch. It is a sequel to Gay's "The Beggar's Opera". Due to censorship, the opera was not performed in Gay's lifetime. It had its world premiere on 19 June 1777 at the Haymarket Theatre in London. A revised and edited version of the score by Clifford Bax and Frederic Austin premiered on 30 December 1922 at the Kingsway Theatre in London.
Document 4: The Beggar's Opera (film): The Beggar's Opera is a 1953 Technicolor film version of John Gay's 1728 ballad opera directed by Peter Brook and starring Laurence Olivier, Dorothy Tutin, Stanley Holloway and others. Olivier and Holloway do their own singing in this film, but Dorothy Tutin and several others were dubbed. This was Laurence Olivier's only film musical.
Document 5: List of compositions by Frederic Austin: Frederic Austin did not assign opus numbers to any of his music. His published output (apart from "The Beggar's Opera", "Polly" and "Perviligium Veneris") consists mainly of song settings for solo voice or chorus, while most of his major orchestral and other works remain in manuscript (see the 'MS' column). Most of Austin's works can be accurately dated, though some (mostly lacking an extant MS) are undated: see the 'Year' column.
Document 6: Imminent, Indeed: Imminent, Indeed (or "Polly Peachum's Peculiar Penchant for Plosives") is a gothic adaptation of John Gay’s "The Beggar’s Opera". Written and directed by Bryn Manion with the assistance of Wendy Remington, and leading man, Sam. Produced by the Creatives and the founding board members of the company of Aisling Arts. This adaptation focuses on Polly Peachum's side of the story and her world as it trips alongside that of Jenny Diver, a new Peachum brother, several comically nefarious underlings, and of course, the ever villainous Henry Macheath (known as "Mack the Knife" in the Bertolt Brecht and Kurt Weill adaptation, "The Threepenny Opera").
Document 7: Captain Macheath: Captain Macheath is a fictional character who appears both in John Gay's "The Beggar's Opera" (1728), its sequel "Polly" (1777), and roughly 200 years later in Bertolt Brecht's "The Threepenny Opera".
Document 8: The Threepenny Opera: The Threepenny Opera (Die Dreigroschenoper ) is a "play with music" by Bertolt Brecht and Elisabeth Hauptmann, adapted from John Gay's 18th-century English ballad opera, "The Beggar's Opera", with music by Kurt Weill and insertion ballads by François Villon and Rudyard Kipling. Although Hauptmann produced 80 to 90 percent of the text, Brecht suppressed this and assumed sole credit, and is usually listed as sole author in printed versions.
Document 9: The Bartered Bride: The Bartered Bride (, "The Sold Bride") is a comic opera in three acts by the Czech composer Bedřich Smetana, to a libretto by Karel Sabina. The work is generally regarded as a major contribution towards the development of Czech music. It was composed during the period 1863–66, and first performed at the Provisional Theatre, Prague, on 30 May 1866 in a two-act format with spoken dialogue.
Document 10: Der Barbier von Bagdad: Der Barbier von Bagdad ("The Barber of Baghdad") is a comic opera in two acts by Peter Cornelius to a German libretto by the composer, based on "The Tale of the Tailor" and "The Barber’s Stories of his Six Brothers" in "One Thousand and One Nights". The first of three operas by Cornelius, the piece was first performed at the Hoftheater in Weimar on 15 December 1858.
Document 11: Beauty and the Beast: Beauty and the Beast (French: La Belle et la Bête ) is a traditional fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740 in "La Jeune Américaine et les contes marins" ("The Young American and Marine Tales"). Her lengthy version was abridged, rewritten, and published first by Jeanne-Marie Leprince de Beaumont in 1756 in "Magasin des enfants" ("Children's Collection") and by Andrew Lang in the "Blue Fairy Book" of his "Fairy Book" series in 1889, to produce the version(s) most commonly retold. It was influenced by some earlier stories, such as "Cupid and Psyche", written by Lucius Apuleius Madaurensi in "The Golden Ass" in the 2nd century AD, and "The Pig King". an Italian fairytale published by Giovanni Francesco Straparola in "The Facetious Nights of Straparola".
Document 12: Bluebeard's Castle: Bluebeard's Castle (Hungarian: A kékszakállú herceg vára ; literally: "The Blue-Bearded Duke's Castle") is a one-act opera by Hungarian composer Béla Bartók. The libretto was written by Béla Balázs, a poet and friend of the composer, and is written in Hungarian, based on the French literary tale "La Barbe bleue" by Charles Perrault. The opera lasts only a little over an hour and there are only two singing characters onstage: Bluebeard ("Kékszakállú "), and his new wife Judith ("Judit " ); the two have just eloped and Judith is coming home to Bluebeard's castle for the first time.
Document 13: Blond Eckbert: Blond Eckbert is an opera by Scottish composer Judith Weir. The composer wrote the English-language libretto herself, basing it on the cryptic supernatural short story "Der blonde Eckbert" by the German Romantic writer Ludwig Tieck. Weir completed the original two act version of the opera in 1993, making "Blond Eckbert" her third full-length work in the genre. Like its predecessors, it was received well by the critics. She later produced a one act "pocket" version of the work. This uses chamber forces rather than the full orchestra of the two act version and omits the chorus. The pocket version receives frequent performances, especially in Germany and Austria, while the full version is available in a recording featuring the original cast.
Document 14: The Beggar's Opera: The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.
Document 15: Abu Hassan: Abu Hassan is a comic opera in one act by Carl Maria von Weber to a German libretto by , based on a story in "One Thousand and One Nights". It was composed between 11 August 1810 and 12 January 1811 and has set numbers with recitative and spoken dialogue. The work is a Singspiel in the then popular Turkish style.
ground_truth: no