r musical journals, to keep the wolf from the door, meanwhile
working on the score of "Rienzi," which was finished in November, 1840
and sent to Dresden. In later years it was produced in that city.

But the Wagners, alas, were starving in Paris. One of Richard's
articles at this time was called "The End of a Musician in Paris,"
and he makes the poor musician die with the words; "I believe in
God--Mozart and Beethoven." It was almost as bad as this for Wagner
himself. He determined to turn his back on all the intrigues and
hardships he had endured for over two years, and set out for the
homeland, which seemed the only desirable spot on earth.

The rehearsals for "Rienzi" began in Dresden in July 1842. Wagner had
now finished "The Flying Dutchman," and had completed the outline of
"Tannhaeuser," based on Hoffmann's story of the Singers' Contest at the
Wartburg.

And now Wagner's star as a composer began to rise and light was seen
ahead. On October 20, 1842 "Rienzi" was produced in the Dresden Opera
House and the young composer awoke the next morning to find himself
famous. The performance was a tremendous success, with singers, public
and critics alike. The performance lasted six hours and Wagner, next
day, decided the work must be cut in places, but the singers loudly
protested: "The work was heavenly," they assured him, "not a measure
could be spared."

With this first venture Wagner was now on the high road to success,
and spent a happy winter in the Saxon capital. He could have gone on
writing operas like "Rienzi," to please the public, but he aimed far
higher. To fuse all the arts in one complete whole was the idea that
had been forming in his mind. He first illustrated this in "The Flying
Dutchman," and it became the main thought of his later works. This
theory made both vocal and instrumental music secondary to the
dramatic plan, and this, at that time, seemed a truly revolutionary
idea.

"The Flying Dutchman" was produced at the Dresden Opera House January
2. 1843, with Mme. Schroeder-Devrient as Senta. Critics and public
had expected a brilliant and imposing spectacle like "Rienzi" and were
disappointed. In the following May and June "The Dutchman" was heard
in Riga and Cassel, conducted by the famous violinist and composer,
Spohr.

In spite of the fact that "The Flying Dutchman" was not then a
success, and in Dresden was shelved for twenty years, Wagner secured
the fine post of Head Capellmeister, at a