The most interesting story in the history of opera, and one so resplendent that it is impossible not to regard the others as merely in some degree preparatory to it, is that of Richard Wagner (1813-1883). This remarkable man was born in Leipsic in 1813, the son of a superintendent of police. His mother was a woman of refined and spiritual nature. After the death of his father, his mother married again--an actor named Geyer--a circumstance having an important bearing on the future of the composer. His brother Albert and his sister Rosalie became actors, and Wagner himself was familiar with the stage from earliest childhood. He studied music while a boy, but his ambition was to become a poet. He translated the twelve books of the Odyssey. He made the acquaintance of Shakespeare's plays, first in German, afterward in English. He made a translation of Romeo's soliloquy, and began to compose music for it. At the age of eighteen he copied Beethoven's ninth symphony in score, for the purpose of knowing it more thoroughly. His musical progress was such that at the age of twenty-one he was able to accept a position as the conductor of the opera at Magdeburg. In 1836 this failed, and he accepted a place at Koenigsberg. He had then written one opera, called "The Love Veto." In 1837 he was much interested in Bulwer's "Rienzi," and immediately made a libretto from it. He was now musical director at Riga, and his wife had leading feminine roles in opera. His favorite composer in opera just then was Meyerbeer. For some reason he lost his place at Riga, and resolved to visit London, taking ship across the Black sea. It was a sailing vessel of small burden, and they encountered a very violent storm. He heard the legend of the Flying Dutchman, and the next year made a poem of it and commenced to write the opera. He spent some time in Paris, where he hoped to get his "Rienzi" accepted at the Grand Opera. This opera he had written on a large scale in the hope of pleasing Meyerbeer, whose influence at Paris was very strong at this time. This, however, he failed to do, very possibly because his opera was too good. He was reduced to great straits, and had to write _potpourri_ for the cornet and piano at a beggarly price, in order to gain a living. In 1843 his "Rienzi" was accepted at Dresden, through the influence of Meyerbeer. It was performed with great success, and Wagner was called there as conductor. Here he had an important position, having to produce the best operas of all schools. He brought out his own "Flying Dutchman" and had already finished "_Tannhaeuser_." He read the Arthur legends, and conceived the idea of an opera upon a subject connected with the Holy Grail. This was "_Lohengrin_," completed in March, 1848. It was in a fair way to have been produced under his own direction if he had had the good sense to let politics alone; but in some way he mixed himself up in the revolutionary attempt of that year, and was obliged to flee the country.