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Jephtas Geludbe Oper in drei Aufzugen (Hardcover, Unabridged edition)
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Jephtas Geludbe Oper in drei Aufzugen (Hardcover, Unabridged edition)
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Meyerbeer's first opera, Jephtas Gelubde, has a libretto by the
German academic Alois Schreiber, based on a Biblical theme taken
from chapters 11-12 of the Book of Judges. The conflict between
paternal love and love of country intrinsic to this scenario was
also chosen by Meyerbeer as the basic theme of his opera, and is
reflected in the overture, a symphonic anticipation of the
essential features of the action. The opera, whose final rehearsals
were conducted by the composer in person, was admirably produced by
the Munich Court Opera on 23 December 1812, but on account of its
novelty met with indifference, so that it was withdrawn. A
newspaper report did, however, observe: "A delicate sensibility,
united to a profound and mature insight into the workings of the
impassioned human heart, is manifested throughout in a grand and
elevated style that gives promise of something great in the
future." This score contains the seeds of the whole of Meyerbeer's
future development. It is impossible to conceive of Meyerbeer's
progress to mastership without the Jephta score. Meyerbeer was
responding to the heritage of his predecessors-the Handel of the
oratorios (in the depiction of grandiose biblical drama), and the
Gluck of the tragedie lyrique (in the depth of both public and
private emotional exploration), but also alert to issues in
contemporary opera, like the Rescus Motif and development of the
villain. There is also evidence of Meyerbeer's famed orchestral
virtuosity and imagination already at work. In his psychological
exploration, Meyerbeer already begins to use thematic tagging and
forshadowing most imaginatively, and points the way far beyond
Gluck, in the direction of Weber-Wagner.
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