Cirrus@Austlit

Described by its composer as a pure music drama of the modern school, the libretto, adapted from Oscar Wilde's novel The Picture of Dorian Gray (1890), was written in blank verse by W. J. Curtis and the dramatic organisation designed so as to afford scope for the dramatic and emotional changes needed to give freshness to the music ('Music and Drama.' Sydney Morning Herald 6 September 1919, p.8).

With regard to the score, the same critic writes:

Mr Orchard's prelude will open with soft chords for the lower strings, followed by a theme for the horn, reflecting the changeful Dorian's gloom and disenchantment. The next motif given pianissimo by the violins like a long drawn sigh will typify Lord Henry's darkly charming personality, and one of a more flowing character for violins will represent Sybil and foreshadow her distress. A strenuous crescendo for full orchestra will be divided by a few bars lull preparatory to a four not theme for the horns just as Dorian rises after his troubled sleep. These four themes form the kernel of the entire musical structure of the new opera throughout its three acts (p.8).