Wagner did not by any means arrive at this conception straight away. _Rienzi_, with its spectacular effects and showy music, is an avowed copy of Meyerbeer and the grand opera methods. A step in advance was taken in _The Flying Dutchman_. The story is the well-known one of the sailor doomed to perpetually sail his vessel for ever and ever, being allowed to touch land once in seven years only; his chance of salvation being that some woman will voluntarily give herself to him; then only may he find peace. Senta, the heroine of the opera, offers to do this, in spite of her affection for her promised lover Erik; she clings to her determination, in spite of all entreaties of father (Daland) and lover, and throws herself into the sea as the Dutchman’s ship sails away. This proves her devotion, and the ship sinks; its wanderings now over at last. The “Curse” Motive, associated with the “Flying Dutchman.” [Music] The music in this early work is still roughly divided into solo, duet, and chorus, and shows only a few traces of the Wagner of the future; the fine overture, with its well-known passages depicting the angry, stormy waves and the other sea portions of the work, were largely inspired by Wagner’s own perilous voyage in 1838. It contains much fine music, but much also that is dull and unconvincing. [Sidenote: “=Tannhäuser=”] _Tannhäuser_ deals with the story of the knight who leaves the world, his affianced bride, and his duties, for the unhallowed delight of Venus. Tiring at last of these, a chorus of pilgrims on their way to Rome moves him to penitence, and he returns to the court of the Landgrave of Thuringia, whose daughter Elizabeth welcomes back Tannhäuser her beloved. He, however, cannot refrain from boasting of the joys of his impious haunts, and is banished from the Court, to seek forgiveness at Rome. Elizabeth prays in solitude for him, but the pilgrims return without him, he eventually reappearing in despair, for the Pope has refused him absolution. He desires to return to Venus, but Wolfram, his friend, reminds him of Elizabeth, who has died of grief; her funeral procession passes, and Tannhäuser falls dead by her bier, just as messengers from Rome announce his ultimate forgiveness by the Pope. “Venusberg” Motives, “Tannhäuser.” [Music] [Music] To all concert goers the _Tannhäuser_ music is familiar by the overture, based mainly on the pilgrims’ chorus and the Venusberg music, and by the song of Wolfram to the Evening Star. Throughout the opera the scoring is fine and effective, and the _leit-motif_ makes a few definite appearances; it is a step towards Wagner’s goal, but only an early one. The music is continuous throughout each act, and less definitely split up than in the _Dutchman_; a good deal of the success of _Tannhäuser_ depends on its spectacular opportunities, the grand scene in the second act with the majestic march offering special scope in this respect. [Sidenote: “=Lohengrin=”]