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Updated: June 9, 2025
In addition to these severe and ill-paid labours, two passions held me chained during the six weeks of my stay in Rudolstadt. These were, first, a longing to write the libretto of Liebesverbot; and secondly, my growing attachment to Minna.
He had no idea of standing on his dignity as an author, and was quite willing to undertake the translation of an existing libretto into French verse. We therefore entrusted him with the writing of my Liebesverbot, with a view to a performance at the Theatre de la Renaissance, as it was then called.
Since then it has been performed with comparative frequency, and formed a part of the cycles of Wagner's works which were given in 1894 and 1895. Wagner's next work was of a very different nature. 'Das Liebesverbot' was a frank imitation of the Italian school.
The spectacle of Rienzi was on far too large a scale for the work to be possible at the Renaissance, so, much against the grain, he offered Anténor Joly Das Liebesverbot. He waited two months for a decided refusal or a qualified acceptance, but heard nothing. At last a word from Meyerbeer seemed to have settled the matter.
Lehrs maintained that I should do no good in Paris unless I showed the world that I had confidence in myself. My trial audience was impending; I felt sure of the Theatre de la Renaissance, and Dumersan was keenly anxious to make a complete translation of my Liebesverbot into French. So we decided to run the risk.
M. Gouin, with almost suspicious levity, promised me to produce my opera Liebesverbot, which now only required translation. There was a question of having a few numbers of my opera sung to the committee of the theatre at a special audience.
After Die Feen, a story of magic, he went to Das Liebesverbot, a story of lust; then he went on to a drama of warring ambitions, with the outer brilliant show of armed men, gorgeous processions, conflagrations and what not in the way of spectacle. After that we have the Dutchman, strange and remote and mysterious, with some pages of passionless ecstasy as its culminating point.
It gave occasion for controversy, and made an ever-widening breach between myself and the newspaper critics. Herr Karl Bank, who for some time had been the chief musical critic in Dresden, had been known to me before at Magdeburg, where he once visited me and listened with delight to my playing of several fairly long passages from my Liebesverbot.
After the success of 'Die Feen' at Munich, it naturally occurred to the authorities there to revive Wagner's one other juvenile opera. The score of 'Das Liebesverbot' was accordingly unearthed, and the parts were allotted. The first rehearsal, however, decided its fate.
But, happily for me, I had begun the music for my Liebesverbot, an occupation which so absorbed my thoughts that I lost all interest in the earlier work, and abstained with proud indifference from all further effort to secure its performance in Leipzig. The success of its overture alone amply repaid me for the composition of my first opera.
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