From this time forward the piece used to fill the house to overflowing as often as it could be presented, and the permanence of its success became still more obvious when I began to realise the envy it drew upon me from many different quarters. My first experience of this was truly painful, and came from the hands of the poet, Julius Mosen, on the very day after the first performance. When I first reached Dresden in the summer I had sought him out, and, having a really high opinion of his talent, our intercourse soon became more intimate, and was the means of giving me much pleasure and instruction. He had shown me a volume of his plays, which on the whole appealed to me exceptionally. Among these was a tragedy, Cola Rienzi, dealing with the same subject as my opera, and in a manner partly new to me, and which I thought effective. With reference to this poem, I had begged him to take no notice of my libretto, as in the quality of its poetry it could not possibly bear comparison with his own; and it cost him little sacrifice to grant the request. It happened that just before the first performance of my Rienzi, he had produced in Dresden Bernhard von Weimar, one of his least happy pieces, the result of which had brought him little pleasure. Dramatically it was a thing with no life in it, aiming only at political harangue, and had shared the inevitable fate of all such aberrations. He had therefore awaited the appearance of my Rienzi with some vexation, and confessed to me his bitter chagrin at not being able to procure the acceptance of his tragedy of the same name in Dresden. This, he presumed, arose from its somewhat pronounced political tendency, which, certainly in a spoken play on a similar subject, would be more noticeable than in an opera, where from the very start no one pays any heed to the words. I had genially confirmed him in this depreciation of the subject matter in opera; and was therefore the more startled when, on finding him at my sister Louisa's the day after the first performance, he straightway overwhelmed me with a scornful outburst of irritation at my success. But he found in me a strange sense of the essential unreality in opera of such a subject as that which I had just illustrated with so much success in Rienzi, so that, oppressed by a secret sense of shame, I had no serious rejoinder to offer to his candidly poisonous abuse. My line of defence was not yet sufficiently clear in my own mind to be available offhand, nor was it yet backed by so obvious a product of my own peculiar genius that I could venture to quote it. Moreover, my first impulse was only one of pity for the unlucky playwright, which I felt all the more constrained to express, because his burst of fury gave me the inward satisfaction of knowing that he recognised my great success, of which I was not yet quite clear myself.
But this first performance of Rienzi did far more than this. It gave occasion for controversy, and made an ever-widening breach between myself and the newspaper critics. Herr Karl Bank, who for some time had been the chief musical critic in Dresden, had been known to me before at Magdeburg, where he once visited me and listened with delight to my playing of several fairly long passages from my Liebesverbot. When we met again in Dresden, this man could not forgive me for having been unable to procure him tickets for the first performance of Rienzi. The same thing happened with a certain Herr Julius Schladebach, who likewise settled in Dresden about that time as a critic. Though I was always anxious to be gracioug to everybody, yet I felt just then an invincible repugnance for showing special deference to any man because he was a critic. As time went on, I carried this rule to the point of almost systematic rudeness, and was consequently all my life through the victim of unprecedented persecution from the press. As yet, however, this ill-will had not become pronounced, for at that time journalism had not begun to give itself airs in Dresden. There were so few contributions sent from there to the outside press that our artistic doings excited very little notice elsewhere, a fact which was certainly not without its disadvantages for me. Thus for the present the unpleasant side of my success scarcely affected me at all, and for a brief space I felt myself, for the first and only time in my life, so pleasantly borne along on the breath of general good-will, that all my former troubles seemed amply requited.
For further and quite unexpected fruits of my success now appeared with astonishing rapidity, though not so much in the form of material profit, which for the present resolved itself into nine hundred marks, paid me by the General Board as an exceptional fee instead of the usual twenty golden louis. Nor did I dare to cherish the hope of selling my work advantageously to a publisher, until it had been performed in some other important towns. But fate willed it, that by the sudden death of Rastrelli, royal director of music, which occurred shortly after the first production of Rienzi, an office should unexpectedly become vacant, for the filling of which all eyes at once turned to me.
While the negotiations over this matter were slowly proceeding, the General Board gave proof in another direction of an almost passionate interest in my talents. They insisted that the first performance of the Fliegender Hollander should on no account be conceded to the Berlin opera, but reserved as an honour for Dresden. As the Berlin authorities raised no obstacle, I very gladly handed over my latest work also to the Dresden theatre. If in this I had to dispense with Tichatschek's assistance, as there was no leading tenor part in the play, I could count all the more surely on the helpful co-operationn of Schroder-Devrient, to whom a worthier task was assigned in the leading female part than that which she had had in Rienzi. I was glad to be able thus to rely entirely upon her, as she had grown strangely out of humour with me, owing to her scanty share in the success of Rienzi. The completeness of my faith in her I proved with an exaggeration by no means advantageous to my own work, by simply forcing the leading male part on Wachter, a once capable, but now somewhat delicate baritone. He was in every respect wholly unsuited to the task, and only accepted it with unfeigned hesitation. On submitting my play to my adored prima donna, I was much relieved to find that its poetry made a special appeal to her. Thanks to the genuine personal interest awakened in me under very peculiar circumstances by the character and fate of this exceptional woman, our study of the part of Senta, which often brought us into close contact, became one of the most thrilling and momentously instructive periods of my life.
It is true that the great actress, especially when under the influence of her famous mother, Sophie Schroder, who was just then with her on a visit, showed undisguised vexation at my having composed so brilliant a work as Rienzi for Dresden without having specifically reserved the principal part for her. Yet the magnanimity of her disposition triumphed even over this selfish impulse: she loudly proclaimed me 'a genius,' and honoured me with that special confidence which, she said, none but a genius should enjoy. But when she invited me to become both the accomplice and adviser in her really dreadful love affairs, this confidence certainly began to have its risky side; nevertheless there were at first occasions on which she openly proclaimed herself before all the world as my friend, making most flattering distinctions in my favour.
First of all I had to accompany her on a trip to Leipzig, where she was giving a concert for her mother's benefit, which she thought to make particularly attractive by including in its programme two selections from Rienzi-the aria of Adriano and the hero's prayer (the latter sung by Tichatschek), and both under my personal conductorship. Mendelssohn, who was also on very friendly terms with her, had been enticed to this concert too, and produced his overture to Ruy Blas, then quite new. It was during the two busy days spent on this occasion in Leipzig that I first came into close contact with him, all my previous knowledge of him having been limited to a few rare and altogether profitless visits. At the house of my brother-in-law, Fritz Brockhaus, he and Devrient gave us a good deal of music, he playing her accompaniment to a number of Schubert's songs. I here became conscious of the peculiar unrest and excitement with which this master of music, who, though still young, had already reached the zenith of his fame and life's work, observed or rather watched me. I could see clearly that he thought but little of a success in opera, and that merely in Dresden. Doubtless I seemed in his eyes one of a class of musicians to whom he attached no value, and with whom he proposed to have no intercourse. Nevertheless my success had certain characteristic features, which gave it a more or less alarming aspect. Mendelssohn's most ardent desire for a long time past had been to write a successful opera, and it was possible he now felt annoyed that, before he had succeeded in doing so, a triumph of this nature should suddenly be thrust into his face with blunt brutality, and based upon a style of music which he might feel justified in regarding as poor. He probably found it no less exasperating that Devrient, whose gifts he acknowledged, and who was his own devoted admirer, should now so openly and loudly sound my praises. These thoughts were dimly shaping themselves in my mind, when Mendelssohn, by a very remarkable statement, drove me, almost with violence, to adopt this interpretation. On our way home together, after the joint concert rehearsal, I was talking very warmly on the subject of music. Although by no means a talkative man, he suddenly interrupted me with curiously hasty excitement by the assertion that music had but one great fault, namely, that more than any other art it stimulated not only our good, but also our evil qualities, such, for instance, as jealousy. I blushed with shame to have to apply this speech to his own feelings towards me; for I was profoundly conscious of my innocence of ever having dreamed, even in the remotest degree, of placing my own talents or performances as a musician in comparison with his. Yet, strange to say, at this very concert he showed himself in a light by no means calculated to place him beyond all possibility of comparison with myself. A rendering of his Hebrides Overture would have placed him so immeasurably above my two operatic airs, that all shyness at having to stand beside him would have been spared me, as the gulf between our two productions was impassable. But in his choice of the Ruy Blas Overture he appears to have been prompted by a desire to place himself on this occasion so close to the operatic style that its effectiveness might be reflected upon his own work. The overture was evidently calculated for a Parisian audience, and the astonishment Mendelssohn caused by appearing in such a connection was shown by Robert Schumann in his own ungainly fashion at its close. Approaching the musician in the orchestra, he blandly, and with a genial smile, expressed his admiration of the 'brilliant orchestral piece' just played..