Abstract
ABSTRACTThe oratorio Jephtha by Handel and librettist Thomas Morell is often singled out by critics for its power and spiritual depth, although it is difficult to say exactly how it achieves this quality. An examination of the oratorio’s Old Testament source and the manner in which it is adapted argues that the synthesis of a familiar biblical narrative pattern with borrowed operatic elements lies at the heart of the work’s spiritual range. Comparing Jephtha with the earlier Judas Maccabaeus and Ariodante sheds light on how the composer and his librettist achieved this.
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