good music.

He found in Paris a few really devoted friends of his art as well
as of himself, who promised to make his stay home-like in this respect
at least. They were Villot, Champfleury, Baudelaire, the young
physician Gasperini, and Ollivier, Liszt's son-in-law. The press,
however, commenced at once its vicious and corrupt practices against
the "musical Marat." Wagner replied with actions. He invited
German singers and in three concerts performed selections from his
compositions. The beau monde of Paris attended, and the applause was
universal, especially after the Lohengrin Bridal-Chorus. The critics
however remained indifferent and even malicious. At this juncture, at
the solicitation of some members of the German legation, particularly
the young princess Metternich, Napoleon gave the order for the
performance of "Tannhaeuser," in the Grand Opera-house, much to
Wagner's surprise. It must have caused a curious mixture of joy and
anxiety in the artist's breast. Standing on the soil of France, he,
for the first time, was destined to conquer his fatherland, but on a
spot which belonged to the "Grand Opera," and where all the inartistic
qualities were fostered that he endeavored to supplant. As his native
land was closed to him, he went to work with his usual earnestness,
and, as though it were a reward for his faithfulness, there came
during the preparations the long-desired amnesty, with the exclusion,
however, of Saxony.

In the summer of 1860 he availed himself of his regained liberty to
make an excursion to the Rhine and then returned to the rehearsals.
Niemann, cast in an heroic mould, had been secured for the title-role.
For the instruction of the public he wrote the letter about the "Music
of the Future" adopting the current witty expression, which appeared
as preface to a translation of his four completed lyric works,
exclusive of the Nibelungen-Ring. With admirable clearness he
disclosed the purpose of his work. The press on the other hand made
use of every agency at its disposal to prejudice Paris from the start
against the work. To aggravate matters, Wagner would not consent to
introduce in the second act the customary ballet which always formed
the chief attraction for the Jockey-club, whose members belonged to
the highest society. He simply gave to the scene in the Venusberg
greater animation and color. It was for this reason that the press and
this club, the malicious Semitic and unintelligent Gallic