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Updated: June 8, 2025
This little watering-place had, in the days of Goethe and Schiller, acquired a very wide reputation, its wooden theatre had been built according to the design of the former, and the first performance of the Braut von Messina had been given there. But although I repeated all this to myself, the place made me feel rather doubtful. I asked for the house of the director of the theatre.
"Irh Diener, werthe Jungfer Braut Viel Glücke zur heutgen Freude!" and exclaiming that at the sight of her in her garland and wedding-garb the heart laughs out in rapture; and what wonder that lips and breast overflow with joy.
"Everyting dat luxury shall sopply shall be for you. Not any qveen shall be more rich dan vat you shall be. You shall be respected like ein Cherman Braut. I shall hafe you to be free. Do not veep! Listen to me I lofe you really, truly, mit de purest lofe. Efery tear of yours breaks my heart." "Can one truly love a woman one has bought?" said the poor girl in the sweetest tones.
In spite of it all I tried to believe in myself, and thought I could find comfort in my overture to the Braut von Messina, which I believed to be a better work than the fatal one I had just heard. A reinstatement, however, was out of the question, for the directors of the Leipzig theatre regarded me for a long time as a very doubtful person, in spite of Dorn's friendship.
While still in Magdeburg I had made H. Konig's romance, Die Hohe Braut, the subject of a grand opera in five acts, and in the most luxurious French style. After the scenic draft of this opera, which had been translated into French, was completely worked out, I sent it from Konigsberg to Scribe in Paris.
But this word Braut means Bride in the German sense of "affianced"; and although the joy of this relation passed over Schumann like the breath of a Tropic, bringing forth, amongst other gorgeous fruits, his glorious First Symphony, which some one has well called the Symphony of Bliss, yet, ere this bliss was more than an elusive vision, the two passed through fierce wildernesses, and drank together of bitter Marahs.
Outside the frontiers of his native land, Smetana was practically unknown until the Vienna Exhibition of 1890, when his opera, 'Die verkaufte Braut, was produced for the first time in the Austrian capital. Since then it has been played in many German opera-houses, and was performed in London in 1895, and again in 1907. The story is simplicity itself.
Passages like the following show the young Schiller at his best as a poet: Liebe wird Dein Auge nie vergolden, Nie umhalsen Deine Braut wirst Du, Nie, wenn unsere Thraenen stromweis rollten, Ewig, ewig, ewig sinkt Dein Auge zu.
To this he gladly agreed, and I therefore set aside for versification, as a suitable text for Reissiger, my Hohe Braut, founded on Konig's romance, which I had once before submitted to Scribe. I promised to bring Reissiger a page of verse for every piano rehearsal, and this I faithfully did until the whole book was done.
My sister Rosalie had once taken me to him in order to hear his opinion about me. He did not treat me uncivilly, but my visit led to nothing. I was also present at the first night of his opera Des Falkner's Braut, which however was not a success. Then he went to Hanover.
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