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
The Flying Dutchman (opera) work as a conductor, and the "Opéra" did not want to produce "Rienzi". The Wagners were reduced to poverty, relying on handouts from friends and from the little income that Wagner could make writing articles on music and copying scores. Wagner hit on the idea of a one-act opera on the theme of the "Flying Dutchman", which he hoped might be performed before a ballet at the "Opéra". The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange colouring that only my