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Updated: June 15, 2025
In both these respects Wagner followed in Weber's footsteps. With the exception of "Rienzi" and "Die Meistersinger," all of his operas, from the "Flying Dutchman" to "Parsifal," embody supernatural, mythical, romantic elements; and in the use of novel tone colors for special emotional effects he opened a new wonder-world of sound, to which Weber, however, had given him the key.
He felt, suddenly, that a dark and purposeless world had slipped behind him. It was gone. It was as if he had come out of a dark and gloomy cavern, in which the air had been vitiated and in which he had been cramped for breath a cavern which fluttered with the uneasy ghosts of things, poisonous things. Here was the sun. A sky blue as sapphire. A great expanse. A wonder-world.
And in her face he had seen the soul of one who had looked upon the world as the world lived outside of its forest walls. Yet he believed her. This was her home. Her hair, her eyes, the flowerlike lithesomeness of her beautiful body and something more, something that he could not see but which he could FEEL in her presence, told him that this was so. This wonder-world about him was her home.
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