Wagner himself has described the frame of mind in which he began to work at ‘Rienzi’:  “To do something grand, to write an opera for whose production only the most exceptional means should suffice...this is what resolved me to resume, and carry out with all my might, my former plan of ‘Rienzi.’  In the preparation of this text I took no thought for anything but the writing of an effective operatic libretto.”  In the light of this confession, it is best to look upon ‘Rienzi’ merely as a brilliant exercise in the Grand Opera manner.  Much of the music is showy and effective; there is a masculine vigour about the melodies, and the concerted pieces are skilfully treated, but, except to the student of Wagner’s development, its intrinsic value is very small.

Appropriately enough, the idea of writing an opera upon the legend of the Flying Dutchman first occurred to Wagner during his passage from Riga to London in the year 1839.  The voyage was long and stormy, and the tempestuous weather which he encountered, together with the fantastic tales which he heard from the lips of the sailors, made so deep an impression upon his mind, that he determined to make his experiences the groundwork of an opera dealing with the fortunes of the ’Wandering Jew of the Ocean.’  When he was in Paris, the stress of poverty compelled him to treat the sketch, which he had made for a libretto, as a marketable asset.  This he sold to a now forgotten composer named Dietsch, who wrote an opera upon the subject, which failed completely.  The disappearance of this work left Wagner’s hands free once more, and some years later he returned con amore to his original idea.  ‘Der Fliegende Hollaender’ was produced at Dresden in 1843.

The legend of the Flying Dutchman is, of course, an old one.  The idea of the world-wearied wanderer driven from shore to shore in the vain search for peace and rest dates from Homer.  Heine was the first to introduce the motive of the sinner’s redemption through the love of a faithful woman, which was still further elaborated by Wagner, and really forms the basis of his drama.  The opera opens in storm and tempest.  The ship of Daland, a Norwegian mariner, has just cast anchor at a wild and rugged spot upon the coast not far from his own home, where his daughter Senta is awaiting him.  He can do nothing but wait for fair weather, and goes below, leaving his steersman to keep watch.  The lad drops asleep, singing of his home, and through the darkness the gloomy vessel of the Dutchman is seen approaching with its blood-red sails.  The Dutchman anchors his ship close to the Norwegian barque, and steps ashore.  Seven years have passed since he last set foot upon earth, and he comes once more in search of a true woman who will sacrifice herself for his salvation, for this alone can free him from the curse under which he suffers.  But hope of mortal aid is dead within his breast.  In wild and broken accents he tells of his passionate longing for death, and calls upon