utterly refused at first to give up his claim to the plot,
which he had secured from Heine; but, finding that he could
not obtain possession of the sketches, which had already been
given to Foucher for versification, he accepted the miserable
sum of £20, which was all that was offered in compensation.
The stolen opera was produced in Paris under the title of 'Le
Vaisseau Fantôme,' in 1842, but it was never very successful,
and has been entirely eclipsed by Wagner's version. Wagner
had not, however, relinquished the idea of writing an opera
upon this theme, and he finished the poem, which Spohr has
designated as 'a little masterpiece,' as quickly as possible.
The score was written at Meudon, near Paris, and completed,
with the exception of the overture, in the short space of seven
weeks. When offered in Munich and Leipsic the critics pronounced
it 'unfit for Germany,' but, upon Meyerbeer's recommendation,
it was accepted at Berlin, although no preparations were made
for its immediate representation.

'The Flying Dutchman' was first brought out at Dresden in 1843,
four years after the idea of this work had first suggested
itself to the illustrious composer, who conducted the orchestra
in person, while Madame Schröder-Devrient sang the part of
Senta. The audience did not receive it very enthusiastically,
and, while some of the hearers were deeply moved, the majority
were simply astonished. No one at first seemed to appreciate
the opera at its full value except Spohr, who in connection
with it wrote: 'Der Fliegende Holländer interests me in the
highest degree. The opera is imaginative, of noble invention,
well written for the voices, immensely difficult, rather overdone
as regards instrumentation, but full of novel effects; at the