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.
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