Adriano and Irene. The finale is brief, but full of energy, and is
principally choral. The dénouement hurries, and the tragedy is reached
amid a tumultuous outburst of voices and instruments. Unlike Wagner's
other operas, in "Rienzi" set melody dominates, and the orchestra, as
in the Italian school, furnishes the accompaniments. We have the
regular overture, aria, duet, trio, and concerted finale; but after
"Rienzi" we shall observe a change, at last becoming so radical that
the composer himself threw aside his first opera as unworthy of
performance.


THE FLYING DUTCHMAN.

"Der Fliegende Holländer," a romantic opera in three acts, words by
the composer, the subject taken from Heinrich Heine's version of the
legend, was first produced at Dresden, Jan. 2, 1843, with Mme.
Schröder-Devrient and Herr Wechter in the two principal rôles. It was
also produced in London in 1870 at Drury Lane as "L'Ollandose
dannato," by Signor Arditi, with Mlle. Di Murska, Signors Foli,
Perotti, and Rinaldini, and Mr. Santley in the leading parts; in 1876,
by Carl Rosa as "The Flying Dutchman," an English version; and again
in 1877 as "Il Vascello fantasma." In this country the opera was
introduced in its English form by Miss Clara Louise Kellogg.

Wagner conceived the idea of writing "The Flying Dutchman" during the
storm which overtook him on his voyage from Riga to Paris. He says in
his Autobiography: "'The Flying Dutchman,' whose intimate acquaintance
I had made at sea, continually enchained my fancy. I had become
acquainted, too, with Heinrich Heine's peculiar treatment of the
legend in one portion of his 'Salon.' Especially the treatment of the