Even though Wagner's early operas draw much from his predecessors such as meyerbeer, Weber, and marschner, those operas possess the strength that the other composers could not achieve. Wagner's operas were written more like symphonies, because he could conceive a whole opera s one piece of music. Mozart tried to use this concept in Freischuetz, but the technique of his day would not allow it.
By having the benefit of coming after Beethoven, Wagner adopted many of his techniques such as the "guiding theme." This theme is repeated and developed throughout a piece and is musically significant in itself.
There is a grater sense of Freedom and expression in Wagner's later operas of The Ring and Tristan than in his earlier operas. This is due to the fact that when the later operas were written, Wagner was not confined by the "old world" style. While being banished form Germany, Wagner was surrounded by these "old" operas because he had to make his living conducting them. But when he was removed from this, Wagner had the leisure and artistic freedom top construct his ideal opera. With this newfound freedom, Wagner created The Ring which, more than any piece by any other composer of the theater, began to push the minds of the listener into a religious spirit. With this spirit, Wagner was the first composer to harshly confront the ultimate problems of life, art and religion. This beginning of confrontation with music gives him distinction and individuality as a composer.
This confrontation leads to a new level of interaction between the composer, performer, and listener.
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Jesse D. Hurlbut--Last Updated November 9, 1993