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Updated: June 17, 2025
The startling beginning made by Werder, on the occasion of his midnight visit after the second performance of the Fliegender Hollander in Berlin, was shortly afterwards followed by a similarly unsolicited approach in the form of an effusive letter from an equally unknown personage, Alwino Frommann, who afterwards became my faithful friend.
I started at once on the publication of a pianoforte arrangement of Tannhauser, preparing it myself while Rockel undertook the Fliegender Hollander, and a certain Klink did Rienzi.
I realised fully that it would never be performed if I could not be present in person at Dresden. When eventually in March Count Redern, the director of the Theatre Royal in Berlin, told me that my Fliegender Hollander had been accepted for the opera there, I thought I had sufficient reason to return to Germany at all costs as soon as possible.
All this was taken up with so much sympathy and enthusiasm by my friends that I was induced to accede to the request of Lowe, who was at that time manager of the theatre, and implored me to give a performance of the Fliegender Hollander.
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