One year later, when in Paris, Wagner submitted detailed sketches for this work to the Director of the Opera, to whom Meyerbeer had introduced him.  The sketches were accepted, and shortly after the Director expressed a wish to purchase them.  Wagner utterly refused at first to give up his claim to the plot, which he had secured from Heine; but, finding that he could not obtain possession of the sketches, which had already been given to Foucher for versification, he accepted the miserable sum of L20, which was all that was offered in compensation.  The stolen opera was produced in Paris under the title of ’Le Vaisseau Fantome,’ in 1842, but it was never very successful, and has been entirely eclipsed by Wagner’s version.  Wagner had not, however, relinquished the idea of writing an opera upon this theme, and he finished the poem, which Spohr has designated as ‘a little masterpiece,’ as quickly as possible.  The score was written at Meudon, near Paris, and completed, with the exception of the overture, in the short space of seven weeks.  When offered in Munich and Leipsic the critics pronounced it ‘unfit for Germany,’ but, upon Meyerbeer’s recommendation, it was accepted at Berlin, although no preparations were made for its immediate representation.

‘The Flying Dutchman’ was first brought out at Dresden in 1843, four years after the idea of this work had first suggested itself to the illustrious composer, who conducted the orchestra in person, while Madame Schroeder-Devrient sang the part of Senta.  The audience did not receive it very enthusiastically, and, while some of the hearers were deeply moved, the majority were simply astonished.  No one at first seemed to appreciate the opera at its full value except Spohr, who in connection with it wrote:  ’Der Fliegende Hollaender interests me in the highest degree.  The opera is imaginative, of noble invention, well written for the voices, immensely difficult, rather overdone as regards instrumentation, but full of novel effects; at the theatre it is sure to prove clear and intelligible....  I have come to the conclusion that among composers for the stage, pro tem., Wagner is the most gifted.’

The legend upon which the whole opera is based is that a Dutch captain once tried to double the Cape of Good Hope in the teeth of a gale, swearing he would accomplish his purpose even if he had to plough the main forever.  This rash oath was overheard by Satan, who condemned him to sail until the Judgment Day, unless he could find a woman who would love him faithfully until death.  Once in every seven years only did the Devil allow the Dutchman to land, in search of the maiden who might effect his release.

In the first act of the opera, the seven years have just ended, and Daland, a Norwegian captain, has been forced by a tempest to anchor his vessel in a sheltered bay within a few miles of his peaceful home, where Senta, his only daughter, awaits him.  All on board are sleeping, and the steersman alone keeps watch over the anchored vessel, singing of the maiden he loves and of the gifts he is bringing her from foreign lands.  In the midst of his song, the Flying Dutchman’s black-masted vessel with its red sails enters the cove, and casts anchor beside the Norwegian ship, although no one seems aware of its approach.