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The second Orchard/Curtis collaboration, the first being The Coquette (1905), The Emperor is set in Rome during the time of the Caesars. The story concerns the adventures of a gladiator named Tintax who poses as a marble statue, and on revival is reverently recognised as Apollo by the credulous art-students. A sub-plot concerns Felicia who desires to marry Porus, and a sculptor, Serius, who has similar designs on Aurelia. They bribe the masquerading Tintax to break the authorised match.
Described as 'the event of the past month,' the work was seen by the Theatre Magazine critic as 'a very welcome addition to the brief list of Australian made operas.' Accompanied by Orchard's 'captivating music' the 'well defined... [and] genuinely witty' narrative is said to have proved amusingly effective.' The same critic went on further to record that 'Mr Curtis has written some excellent lyrics, and his dialogue is bright and pungent, and in the second act the lines on "life," previous to the quintette, have a sound philosophical ring, that shows that the author is a keen observer of human nature' (1 December 1906, p.12).
[Source: Australian Variety Theatre Archive]
Notes
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With regard to the music, the Theatre Magazine notes that while 'Mr Orchard has scored his music perhaps with too heavy a touch in some places... the effect is to add a graceful dignity thoroughly in keeping with the period of the opera. Speaking generally the vocal music is tuneful and free from involvement, and one of its characteristics is the abundance of well defined melodies, while the orchestration throughout is decidedly pleasing, and occasionally rises to a high plane of merit' (1 December 1906, p.12).
Songs known to have been written for the work are: "The Scent of the Twilight Roses" (sung by Laurel Noakes), "The Vision" (McKeown), "The Monarch of Wine" (Gordon), "Love's Arithmetic" (Menser), "Students of Art" and "The Invocation" (chorus).
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Both the composer and librettist were called before the audience after the premiere production, with part of W. J. Curtis' curtain speech being reported in the Theatre.
There were no prophets in one's country, and if possible fewer profits even than that - [to much laughter]... at a later date they hoped to stage the piece in London, and there reap the reward of their labour. [The] principles and chorus had worked like Trojans without return of any kind, and he felt that he owed them a debt of gratitude it would be impossible to repay. [Cheers] He knew many friends who would be glad to learn that, in spite of an outlay of about £400 for the week's season, no loss had resulted. [Cheers] (1 December 1906, p.13).
Curtis' reference to the paucity of prophets/profits may well have been in response to comments published in the Sydney Morning Herald following the previous year's premiere of The Coquette. The paper's observation in relation to the quality of that original Australian production and the local audiences, was that it represented "the kind of comic opera which runs for about fifty nights in London, which is tantamount to admitting that it is not equal to the only standard with which Australian playgoers are acquainted. That is to say [it] would be quite favourably reviewed by the London critics... but it would never reach Australia. The only pieces with which our audiences are acquainted are those which have made gigantic successes in London" ("Palace Theatre" 29 August 1905, p.8).
Production Details
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1906: Palace Theatre, Sydney; 7 November - 8 December.
- Conductor W. Arundel Orchard; Scenic Artist Harry Smith; Choreography Minnie Hooper; Stage Manager A. MacNicol Turner; Costumes Harriet Balton [Batham?].
- Cast incl. Laurel Noakes (Aurelia), J. C. McKeown (Porus), S. W. Gordon, Rubie Menser, E. H. Fahy (Tintax), Meta Haytor (Aurora), G. Marsh Little (Augustus, Emperor of Rome), Mr Sussmilch (Furious Cursor), A. Pope (Pius Cinna), O. U. Nickless. - Musicians incl. F. Mowat-Carter (lead violin).
- The cast also included a chorus of some fifty members.
- The season was extended by one night (the 8th) in order to provide a benefit to W. Arundel Orchard "in recognition of his efforts to establish comic opera in Australia" (Theatre Magazine December 1906, p.7).
