New York Arts > Emily Duncan-Brown
Rienzi was totally new to me, although Eve Queler’s interview on New York Arts gave me some idea of what to expect. Still I was really surprised to hear music that seemed to come straight out of Bellini and reminded me even of some Verdi at times. This is most definitely not the Wagner we know from Tristan and Parsifal, and Wagner most certainly didn’t want us to know him by it. Although Rienzi was a great success at its premiere, made him famous, and continued to be popular through his lifetime and beyond, he repudiated the opera, once he hit his stride in Der fliegende Holländer, Tannhäuser, and Lohengrin, and supported performances only as far back as the Holländer, his next work, which he actually began before he finished Rienzi. He worked on Rienzi from the summer of 1837 to through October 1840. During this time he took up a post at the opera house in Riga, where he stayed until he was dismissed in 1839. He had to leave the country in secret to escape his creditors, setting out for Paris, where he struggled to survive, as he tried unsuccessfully to interest the Paris Opera in Rienzi.