Deborah W. Rooke – författare

Handel''s Israelite oratorios are today little known among non-specialists, but in their own day they were unique, pioneering and extremely popular. Dating from the period 1732-1752, they combine the musical conventions of Italian opera with dramatic plots in English that are adaptations of Old Testament narratives. They constitute a form of biblical interpretation, but to date, there has been no thoroughgoing study of the theological ideas or the attitudes towardsthe biblical text that might be conveyed in the oratorios'' libretti. This book aims to fill that gap from an interdisciplinary perspective.Combining the insights of present-day biblical studies with those of Handelian studies, Deborah W. Rooke examines the libretti of ten oratorios - Esther, Deborah, Athalia, Saul, Samson, Joseph and his Brethren, Judas Macchabaeus, Solomon, Susanna and Jephtha - and evaluates the relationship between each libretto and the biblical story on which it is based. Rooke comments on each biblical text from a modern scholarly perspective, and then compares the modern interpretation with the version ofthe biblical narrative that appears in the relevant libretto. Where the libretto is based on a prior dramatic or literary adaptation of the biblical narrative, she also discusses the prior adaptation and how it relates to both the biblical text and the corresponding oratorio libretto. In this way thedistinctive nuances of the oratorio libretti are highlighted, and each libretto is then analysed and interpreted in the light of eighteenth-century religion, scholarship, culture and politics. The result is a fascinating exploration not only of the oratorio libretti but also of how culture and context determines the nature of biblical interpretation.

This unique study is the first systematic examination to be undertaken of the high priesthood in ancient Israel, from the earliest local chief priests in the pre-monarchic period down to the Hasmonaean priest-kings in the first century BCE. Dr Rooke argues that, contrary to received scholarly opinion, the high priesthood was fundamentally a religious office which in and of itself bestowed no civil responsibilities upon its holders, and that not until the time of the Maccabean revolt does the high priest appear as the sole figure of leadership for the nation. However, even the Maccabean / Hasmonaean high priesthood was effectively a reversion to the monarchic model of sacral kingship which had existed several centuries earlier in the pre-exilic period, rather than being an extension of the powers of the high priesthood itself. The idea that high priesthood per se bestowed the power to rule should therefore be reconsidered.

Handel's Israelite oratorios are today little known among non-specialists, but in their own day they were unique, pioneering and extremely popular. Dating from the period 1732-1752, they combine the musical conventions of Italian opera with dramatic plots in English that are adaptations of Old Testament narratives. They constitute a form of biblical interpretation, but to date, there has been no thoroughgoing study of the theological ideas or the attitudes towards the biblical text that might be conveyed in the oratorios' libretti. This book aims to fill that gap from an interdisciplinary perspective. Combining the insights of present-day biblical studies with those of Handelian studies, Deborah W. Rooke examines the libretti of ten oratorios - Esther, Deborah, Athalia, Saul, Samson, Joseph and his Brethren, Judas Macchabaeus, Solomon, Susanna and Jephtha - and evaluates the relationship between each libretto and the biblical story on which it is based. Rooke comments on each biblical text from a modern scholarly perspective, and then compares the modern interpretation with the version of the biblical narrative that appears in the relevant libretto. Where the libretto is based on a prior dramatic or literary adaptation of the biblical narrative, she also discusses the prior adaptation and how it relates to both the biblical text and the corresponding oratorio libretto. In this way the distinctive nuances of the oratorio libretti are highlighted, and each libretto is then analysed and interpreted in the light of eighteenth-century religion, scholarship, culture and politics. The result is a fascinating exploration not only of the oratorio libretti but also of how culture and context determines the nature of biblical interpretation.

This unique study is the first systematic examination to be undertaken of the high priesthood in ancient Israel, from the earliest local chief priests in the pre-monarchic period down to the Hasmonaean priest-kings in the first century BCE. Deborah Rooke argues that, contrary to received scholarly opinion, the high priesthood was fundamentally a religious office which in and of itself bestowed no civil responsibilities upon its holders, and that not until the time of the Maccabean revolt does the high priest appear as the sole figure of leadership for the nation. However, even the Maccabean / Hasmonaean high priesthood was effectively a reversion to the monarchic model of sacral kingship which had existed several centuries earlier in the pre-exilic period, rather than being an extension of the powers of the high priesthood itself. The idea that high priesthood per se bestowed the power to rule should therefore be reconsidered.