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On the contrary, they can, like Vogl and Schroeder-Devrient, even aspire to guide composers and help to mark out new paths in art: which surely, ought to be more gratifying to their pride than the cheap applause which the sopranists and prima donnas of the bel canto period used to receive for the meaningless colorature arias which they compelled the enslaved composers to write, or manufactured for themselves.
This he finished, and the work, performed years later, was found to be imitative of Beethoven, Weber, and Marschner; the music was nevertheless very melodious. Wagner returned to Leipsic in 1834. Soon there came another impetus to this budding genius: he heard for the first time the great singer Wilhelmina Schroeder-Devrient, whose art made a deep impression on him.
Another representation of the almost forgotten Fidelio, which was selected by Fräulein Schroeder-Devrient for her benefit, and which was a pronounced success through the genius of this remarkable woman, led to a commission for a new opera from a Vienna manager. This was followed shortly after by a similar order from Berlin on his own terms.
Weber was preparing his recently completed opera Euryanthe, for a first production in Vienna. He had produced Fidelio in the foregoing spring season at Dresden, where he was officially stationed, and had made a success of it with Frau Schroeder-Devrient.
It is humiliating to be obliged to confess that good schools of singing, the absence of which Vogl deplored, are still lamentably rare, although he himself, by his example, did much to develop the correct method. We have just seen how Wagner obtained valuable hints from Schroeder-Devrient.
Schroeder-Devrient was an admirable "Senta," and received enthusiastic applause; but the opera itself puzzled the audience rather than pleased it.
Getting paper and ink, he did as I desired, and we parted. I flung myself unconsciously on the bed for a deep and invigorating sleep. Next morning I was fresh and well. I paid a farewell call on Schroeder-Devrient, who promised me to do all she could for the Fliegender Hollander as soon as possible, drew my fee of a hundred ducats, and set off for home.
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.
His new villa at Bayreuth he called "Wahnfried," setting over the door a fresco of mythological figures, symbolising music and tragedy; in whom are portrayed Cosima Wagner, his final ideal, and Wilhelmine Schroeder-Devrient, who had been his first inspiration, and also figures of Wotan and Siegfried; the former being the portrait of Franz Betz, the singer of the rôle, and the latter being the child Siegfried Wagner.
He himself confesses that 'if any one should compare this score with that of "Die Feen" he would find it difficult to understand how such a complete change in my tendencies could have been brought about in so short a time. The incident which turned his thoughts into this new channel was a performance of Bellini's 'Capuletti e Montecchi, in which Madame Schroeder-Devrient sang the part of Romeo.
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