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A hundred years ago, in the fall of 1903, Gustav Mahler was rehearsing Fromental Halevy's opera "La Juive" in Vienna. By Mahler's time, the art of French grand opera that Halevy exemplified had gone out of fashion, its stylized set pieces and grandiose production values superseded by Wagnerian stream of consciousness and naturalistic plots. Nonetheless, Mahler believed in "La Juive," and he lavished special attention on the finale of Act III, in which Brogni, a cardinal in fifteenth-century Switzerland, condemns the heretical love of Leopold, a Catholic prince, and Rachel, the "Jewess" of the title. "Anathema! Anathema!" the Cardinal sings. The word signified not merely ...