He immediately set about writing a new overture for it, and that imperishable work of genius, the Third Leonore overture appeared. Here we have an epitome of the succeeding music of the opera, foreshadowing in dramatic language, the grief and despair, and the final deliverance and joy of the principal actors of the drama. Wagner says of this work, "It is no longer an overture, but the mightiest of dramas in itself." Here Beethoven could use his accustomed freedom once more. He was back again in the familiar realm of instrumental music, and the storm and stress of recent experiences no doubt supplied some of the material which went into it. It is frequently used as a concert work.
The opera was produced the following spring in the revised form and with the new overture. The wisdom of the revision was at once apparent, but a quarrel between Beethoven and the intendant of the theatre led to its final withdrawal after two representations. It did not see the light again until 1814.
It was about this time that Beethoven first met Cherubini, whose operas were favorites with the Vienna public. The Italian master made a stay of several months' duration in Vienna, and attended a performance of Fidelio.
CHAPTER VI
THE ETERNAL FEMININE
If that beauty of Shiraz would take my heart in hand, I would give for her dark mole Samarkand and Bokhara.
—Hafiz.
