Some details of the representation may be learned from the account in the “Theaterzeitung” of November 9. The day was the name-day of the Empress; the square about the Opera-house was illuminated; the national hymn, “Gott erhalte Franz den Kaiser,” was sung; the overture received such applause that it had to be repeated; the great duet and the canon quartet also, and the soprano and tenor were recalled at the end of the opera. Was Beethoven present? The question cannot be answered. Alfred von Wolzogen in his biography of Wilhelmine Schröder-Devrient quotes from Claire von Glümer, who had access to the singer’s notes, in his account of the affair. The incident of the rehearsal is told with a variation which strengthens Schindler’s narrative. At the performance, Claire von Glümer says, Beethoven sat behind the chapelmaster in the orchestra so deeply wrapped in his cloak that only his gleaming eyes were visible. The youthful prima donna was unspeakably alarmed, but scarcely had she uttered her first words than she felt her whole body infused with marvellous power. Beethoven--the public--everything vanished from view. She forgot that she had studied the rôle--she was transformed into _Leonore_--she lived, she suffered the part, scene after scene. Beethoven, the story proceeds, though he had heard not a word but had observed the soul of her singing in her transfigured face, had recognized his _Leonore_ in her. After the performance he went to her; his usually threatening eyes smiled upon her, he patted her cheeks, thanked her for her _Fidelio_ and promised to compose a new opera for her--a promise which, unfortunately was never fulfilled. Wilhelmine never met the master again, but of all the evidences of homage paid to the famous woman in later years her most precious recollection were the words of appreciation which Beethoven spoke to her.