Wagner fled to Switzerland, leaving Minna still in Dresden, though in due time he succeeded in scraping together funds for her to follow him to Zurich. He was full of plans for composing "Siegfried," while she continually urged him to write pleasing operas that Paris would like. Wagner believed the world should take care of him while he was composing his great works, whereas Minna saw this course meant living on the charity of friends, and at this she rebelled. But Wagner grew discouraged over these petty trials, and for five years creative work was at a standstill.
How to meet daily necessities was the all absorbing question. A kind friend, who greatly admired his music, Otto Wesendonck, made it possible for him to rent, at a low price, a pretty chalet near Lake Zurich, and there he and Minna lived in retirement, and here he wrote many articles explaining his theories.
During the early years at Zurich Wagner's only musical activity was conducting a few orchestral concerts. Then, one day, he took out the score of his "Lohengrin," and read it, something he rarely did with any of his works. Seized with a deep desire to have this opera brought out, he sent a pleading letter to Liszt, begging him to produce the work. Liszt faithfully accomplished this task at Weimar, where he was conducting the Court Opera. The date chosen was Goethe's birthday, August 28, and the year 1850. Wagner was most anxious to be present, but the risk of arrest prevented him from venturing on German soil. It was not till 1861, in Vienna, that the composer heard this the most popular of all his operas. Liszt was profoundly moved by the beautiful work, and wrote his enthusiasm to the composer.
Wagner now took up his plan of the Nibelung Trilogy, that is the three operas and a prologue. Early in 1853 the poem in its new form was complete, and in February he sent a copy to Liszt, who answered: "You are truly a wonderful man, and your Nibelung poem is surely the most incredible thing you have ever done!"
So Wagner was impelled by the inner flame of creative fire, to work incessantly on the music of the great epic he had planned. And work he must, in spite of grinding poverty and ill health. It was indeed to be the "Music of the Future."
After a brief visit to London, to conduct some concerts for the London Philharmonic, Wagner was back again in Zurich, hard at work on the "Walküre," the first opera of the three, as the "Rheingold" was considered the introduction. By April 1856, the whole opera was finished and sent to Liszt for his opinion. Liszt and his great friend, Countess Wittgenstein, studied out the work together, and both wrote glowing letters to the composer of the deep effect his music made upon them.
And now came a halt in the composition of these tremendous music dramas. Wagner realized that to produce such great works, a special theater should be built, of adaptable design. But from where would the funds be forthcoming? While at work on the "Walküre," the stories of "Tristan" and "Parsifal" had suggested themselves, and the plan of the first was already sketched. He wrote to Liszt: "As I have never in life felt the bliss of real love, I must erect a monument to the most beautiful of all my dreams." The first act of "Tristan and Isolde" was finished on the last day of the year 1857. In his retreat in Switzerland, the composer longed for sympathetic, intellectual companionship, which, alas, Minna could not give him. He found it in the society of Marie Wesendonck, wife of the kind friend and music lover, who had aided him in many ways. This marked attention to another aroused Minna's jealousy and an open break was imminent. The storm, however, blew over for a time.
In June, 1858, Wagner was seized with a desire for luxury and quiet, and betook himself to Venice, where he wrote the second act of "Tristan." Then came the trouble between Wagner and the Wesendoncks which caused the composer to leave Zurich finally, on August 17, 1859. Minna returned to Dresden while Wagner went to Paris, where Minna joined him for a time, before the last break came.
What promised to be a wonderful stroke of good luck came to him here. His art was brought to the notice of the Emperor, Napoleon III, who requested that one of his operas should be produced, promising carte blanche for funds. All might have gone well with music of the accepted pattern. But "Tannhäuser" was different, its composer particular as to who sang and how it was done. The rehearsals went badly, an opposing faction tried to drown the music at the first performance. Matters were so much worse at the second performance that Wagner refused to allow it to proceed. In spite of the Emperor's promises, he had borne much of the expense, and left Paris in disgust, burdened with debt.
From Paris Wagner went to Vienna, where he had the great happiness of hearing his "Lohengrin" for the first time. He hoped to have "Tristan" brought out, but the music proved too difficult for the singers of that time to learn. After many delays and disappointments, the whole thing was given up. Reduced now to the lowest ebb, Wagner planned a concert tour to earn a living. Minna now left him finally; she could no longer endure life with this "monster of genius." She went back to her relatives in Leipsic, and passed away there in 1866.