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I had already had various experiences as to the views of German managers on this work. Relying on the plot, which had pleased the manager of the Paris Opera so much, I had sent the libretto in the first instance to my old acquaintance Ringelhardt, the director of the Leipzig theatre. But the man had cherished an undisguised aversion for me since my Liebesverbot.
On the other hand, the zeal with which she urged my opera on the director of the theatre, Ringelhardt, the conductor and the manager was unmistakable, and she did it so effectually that she obtained their consent for its performance, and that very speedily.
The director, Ringelhardt, whom I sought to win over to my cause by assigning the part of Marianne to his daughter, then making her debut in opera, chose to reject my work on the apparently very reasonable grounds that the tendency of the theme displeased him.
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