Abstract
In 1835, when La Juive premiered on the Parisian stage, four years after the premiere of Giacomo Meyerbeer's Robert le Diable (1831) and one year before Les Huguenots. An agenda used to assuage the shame resulting from the budding Holocaust debate - prevented many theater people from considering La Juive as a viable production after World War II. Both aspects are stressed in an important review of the first production of La Juive in 1989. Within two seasons John Dew succeeded in establishing new theatrical standards for revivals of French pre-Wagnerian opera, and in reestablishing La Juive as an important masterpiece of European opera. Indeed, La Juive's first action scene belonged to the crowd; soon after they inspected the site where the great festival would take place, the crowd, represented by the chorus, changed its costumes. Directors, musicians, and singer-actors joined forces to make the revival of La Juive an international phenomenon. Keywords:Giacomo Meyerbeer's; Holocaust; John Dew; La Juive
Published Version
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