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Updated: May 4, 2025
During the whole time of our intercourse at Riga, he, who formerly treated me more like a good-natured elder brother, had become my most confidential friend. We saw and visited each other almost daily, very frequently in our respective homes. I kept not a single secret from him, and the performance of his Schoffe van Paris under my direction was as successful as if it had been under his own.
In fact, he declared that Holtei had distinctly told him he would on no account re-engage me, as I could not get on with the singers. He added that after this one could not take it amiss if he, who had been inspired with fresh enthusiasm for the theatre by the success of his Schoffe von Paris, had seized and turned to his own advantage the chance offered to him.
As a complete contrast to my extravagant setting of Rienzi, this same director, H. Dorn, had set to work to write an opera in which he had most carefully borne in mind the conditions obtaining at the Riga theatre. Der Schoffe van Paris, an historical operetta of the period of the siege of Paris by Joan of Arc, was practised and performed by us to the complete satisfaction of the composer.
Although, after the failure of three operas, he had retired in disgust from the theatre to devote himself exclusively to the commercial side of music, yet the success of his opera, Der Schoffe von Paris, in Riga helped him back to a permanent place among the dramatic musicians of Germany.
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