Later she discovers that Leopold is a Prince, and
betrothed to the Princess Eudoxia. Her jealousy breaks forth, and she
accuses him of having seduced her--a crime which in those days was
punishable by death. Rachel, Leopold, and Eleazar are all thrown into
prison. There Rachel relents, and retracts her accusation. Leopold is
accordingly released, but the Jew and his daughter are condemned to be
immersed in a cauldron of boiling oil. There is a rather meaningless
underplot which results in a confession made by Eleazar on the scaffold,
that Rachel is not a Jewess at all, but the daughter of a Cardinal who
has taken a friendly interest in her fortunes throughout the drama.
Halevy's music is characterised by dignity and sobriety, but it rarely
rises to passion. He represents to a certain extent a reaction towards
the pre-Rossinian school of opera, but, to be frank, most of 'La Juive'
is exceedingly long-winded and dull. Besides his serious operas, Halevy
wrote works of a lighter cast, which enjoyed popularity in their time.
But the prince of opera comique at this time was Auber (1782-1871).
Auber began his career as a musician comparatively late in life, but _en
revanche_ age seemed powerless to check his unflagging industry. His
last work, 'Le Reve d'Amour,' was produced in the composer's
eighty-eighth year. Auber is a superficial Rossini. He borrowed from the
Italian master his wit and gaiety; he could not catch an echo of his
tenderness and passion.
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