Wagner's first opera, 'Die Feen,' was written in 1833, when the composer was twenty years old. Wagner always wrote his own libretti, even in those days. The story of 'Die Feen' was taken from one of Gozzi's fairy-tales, 'La Donna Serpente.' Wagner himself, in his 'Communication to my Friends,' written in 1851, has given us a _résume_ of the plot: 'A fairy, who renounces immortality for the sake of a human lover, can only become a mortal through the fulfilment of certain hard conditions, the non-compliance wherewith on the part of her earthly swain threatens her with the direst penalties; her lover fails in the test, which consists in this, that, however evil and repulsive she may appear to him (in the metamorphosis which she has to undergo), he shall not reject her in his unbelief. In Gozzi's tale the fairy is changed into a snake; the remorseful lover frees her from the spell by kissing the snake, and thus wins her for his wife. I altered this dénouement by changing the fairy into a stone, and then releasing her from the spell by her lover's passionate song; while the lover, instead of being allowed to carry off his bride into his own country, is himself admitted by the fairy king to the immortal bliss of fairyland, together with his fairy wife.'
When Wagner wrote 'Die Feen' he was under the spell of Weber, whose influence is perceptible in every page of the score. Marschner, too, whose 'Vampyr' and 'Templer und Jüdin' had been recently produced at Leipzig, which was then Wagner's headquarters, also appealed very strongly to the young musician's plastic temperament. 'Die Feen' consequently has little claim to originality, but the work is nevertheless interesting to those who desire to trace the master's development _ab ovo_. Both in the melodies and rhythms employed it is possible to trace the germs of what afterwards became strongely marked characteristics. Wagner himself never saw 'Die Feen' performed. In 1833 he could not persuade any German manager to produce it, and, in the changes which soon came over his musical sympathies, 'Die Feen' was laid upon the shelf and probably forgotten. It was not until 1888, five years after the composer's death, that the general enthusiasm for everything connected with Wagner induced the authorities at Munich to produce it. Since then it has been performed with comparative frequency, and formed a part of the cycles of Wagner's works which were given in 1894 and 1895. Wagner's next work was of a very different nature. 'Das Liebesverbot' was a frank imitation of the Italian school. He himself confesses that 'if any one should compare this score with that of "Die Feen" he would find it difficult to understand how such a complete change in my tendencies could have been brought about in so short a time.' The incident which turned his thoughts into this new channel was a performance of Bellini's 'Capuletti e Montecchi,' in which Madame Schroeder-Devrient sang the part of Romeo. This remarkable woman exercised in those days an almost hypnotic influence upon Wagner, and the beauty and force of this particular impersonation impressed him so vividly that he relinquished his admiration of Weber and the Teutonic school and plunged headlong into the meretricious sensuousness of Italy. The libretto of 'Das Liebesverbot' is founded upon Shakespeare's 'Measure for Measure,' It was performed for the first and only time at Magdeburg in 1836, and failed completely; but it is only just to say that its failure seems to have been due more to insufficient rehearsal than to the weakness of the score. After the success of 'Die Feen' at Munich, it naturally occurred to the authorities there to revive Wagner's one other juvenile opera. The score of 'Das Liebesverbot' was accordingly unearthed, and the parts were allotted. The first rehearsal, however, decided its fate. The opera was so ludicrous and unblushing an imitation of Donizetti and Bellini, that the artists could scarcely sing for laughter. Herr Vogl, the eminent tenor, and one or two others were still in favour of giving it as a curiosity, but in the end it was thought better to drop it altogether, less on account of the music than because of the licentious character of the libretto.
