That reference is found in a singular trilogy, which was obviously written more to disclose the possibilities of counterpoint than to set forth the story--even if it does that, which I cannot say; the suggestion comes only from a title.

In August, 1852, Pietro Raimondi produced an oratorio in three parts entitled, respectively, "Putifar," "Giuseppe giusto," and "Giacobbe," at the Teatro Argentina, in Rome.

The music of the three works was so written that after each had been performed separately, with individual principal singers, choristers, and orchestras, they were united in a simultaneous performance.

The success of the stupendous experiment in contrapuntal writing was so great that the composer fell in a faint amidst the applause of the audience and died less than three months afterward.
In the course of this study I have mentioned nearly all of the Biblical characters who have been turned into operatic heroes.

Nebuchadnezzar appeared on the stage at Hamburg in an opera of Keiser's in 1704; Ariosti put him through his bovine strides in Vienna in 1706.