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This new kind of heroic opera appealed far more to Beethoven than the (to him) frivolous-seeming dramas of character that had impelled Mozart's earlier work. Beethoven, who heard Cherubini's work in Vienna, joined the new trend with enthusiasm; and indeed Fidelio borrows its plot, characters, and (according to Dean) even certain musical devices from the work of Beethoven's predecessors in the French rescue-opera tradition. These include Pierre Gaveaux's opera Léonore, ou L'amour conjugal

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