The Buelows arrived in Munich in the early autumn, and almost at once began the attraction of Mme. Cosima von Buelow and Wagner.  She, the daughter of Liszt, was but twenty five, of deeply artistic temperament, and could understand the aims of the composer as no other woman had yet done.  This ardent attraction led later to Cosima’s separation from her husband and finally to her marriage with Wagner.

The first of the Wagner Festivals under patronage of the King, took place in Munich June 10, 13, 19, and July 1, 1865.  The work was “Tristan and Isolde,” perhaps the finest flower of Wagner’s genius, and already eight years old.  Von Buelow was a superb conductor and Ludwig an inspired Tristan.  Wagner was supremely happy.  Alas, such happiness did not last.  Enemies sprang up all about him.  The King himself could not stem the tide of false rumors, and besought the composer to leave Munich for a while, till public opinion calmed down.  So Wagner returned to his favorite Switzerland and settled in Triebschen, near Lucerne, where he remained till he removed to Bayreuth in 1872.

In 1866, the feeling against Wagner had somewhat declined and the King decided to have model performances of “Tannhaeuser” and “Lohengrin” at Munich.  The Festival began June 11, 1867.  The following year “Die Meistersinger” was performed—­June 21, 1868.

And now the King was eager to hear the “Ring.”  It was not yet complete but the monarch could not wait and ordered “Das Rheingold,” the Introduction to the Trilogy, to be prepared.  It was poorly given and was not a success.  Not at all discouraged, he wished for “Die Walkuere,” which was performed the following year, June 26, 1870.

It had long been Wagner’s desire to have a theater built, in which his creations could be properly given under his direction.  Bayreuth had been chosen, as a quiet spot where music lovers could come for the sole purpose of hearing the music.  He went to live there with his family in April, 1872.  Two years later they moved into Villa Wahnfried, which had been built according to the composer’s ideas.  Meanwhile funds were being raised on both sides of the water, through the Wagner Societies, to erect the Festival Theater.  The corner stone was laid on Wagner’s birthday—­his fifty-ninth—­May 22, 1872.  It was planned to give the first performances in the summer of 1876; by that time Wagner’s longed-for project became a reality.

The long-expected event took place in August, 1876.  The Festival opened on the thirteenth with “Das Rheingold,” first of the Ring music dramas.  On the following night “Die Walkuere” was heard; then came “Siegfried” and “Goetterdaemmerung,” the third and fourth dramas being heard for the first time.  Thus the Ring of the Nibelungen, on which the composer had labored for a quarter of a century at last found a hearing, listened to by Kings and Potentates, besides a most distinguished audience of musicians from all parts of the world.