Opera heard in his earlier operas such as "Der fliegende Holländer", "Tannhäuser" and "Lohengrin"; and he was prepared to violate accepted musical conventions, such as tonality, in his quest for greater expressivity. In his mature music dramas, "Tristan und Isolde", "Die Meistersinger von Nürnberg", "Der Ring des Nibelungen" and "Parsifal", he abolished the distinction between aria and recitative in favour of a seamless flow of "endless melody". Wagner also brought a new philosophical dimension to opera in his works, which were usually based on stories from Germanic or Arthurian legend. Finally, Wagner built his own opera house at Bayreuth with part
Opera in German revolutionary and controversial composers in musical history and his innovations changed the course of opera, not just in Germany and Austria but throughout Europe. Wagner gradually evolved a new concept of opera as a "Gesamtkunstwerk" (a "complete work of art"), a fusion of music, poetry and painting. His earliest experiments followed the examples set by Weber ("Die Feen") and Meyerbeer ("Rienzi"), but his most important formative influence was probably the symphonic music of Beethoven. Wagner believed his career truly began with "Der fliegende Holländer" (1843). Together with the two works which followed, "Tannhäuser" and "Lohengrin", this has been described as