The Prince George's Civic Opera's "Operafest" continued last night with the world premiere of a short electronic theater piece by Lawrence Moss called "Dreamscapes." Composed in what the composer refers to as "typical post-opera" idiom, it is a series of seven episones for dancer lights and tape. While none of it sounded or looked fresh, much of the music was refreshing and even intriguing.

The musical side of things consisted of incredibly banal poems by Anne Lusby-Pinchot, declaimed in a laidback sprechstimme fashion by the composer's wife against familiar synthesizer teztures. The voice was never integrated into the music, but there were some lovely moments, particularly in the biginning chorus of electronic flutes. It was unabashedly academic, neverless interesting music, even if lacking the delicacy of a Subotnick or the impact of Nono.

The dancing by choreographer Michele Pecora was equally academic, but less well executed.There were cygnette arms to phrases like "rises like the "Phoenix," and hints at various familiar modern dance for her blithe intentions, and the whole affair had the air of an intermediate dance class recital.

The lights, billed as part of the performance, would be no surprise to those who remember the light shows projected behind rock groups like Iron Butterfly in their late '60s concerts. The 15-minute "Dreamscapes" work was preceded by a delightful concert of madrigals by a group called ConMusica Viva. The program will be repeated on Friday at 8 p.m.