The trade Richard Wagner chose to follow in Magdeburg was that of operatic conductor. It wasn't until eight years later that he made a serious debut as an operatic composer. The Forbidden Love (Das Liebesverbot) isn't very well known; but it may be doubted whether Wagner, with his head full of confused ideas, and as yet no definite and distinctive plan or method, could at this time produce a great work of art. He had to pass through his Rienzi period first. But two points may be remarked. Already he had determined to make his own librettos; and his early association with the theatre enabled him to judge much better than any of the libretto-makers of that or any other time as to what would prove effective on the stage. In the second place, in the music of Die Feen, we see to what an extent he had assimilated Weber; the themes are Weberesque in outline, and the whole colour — colour of harmony and orchestration — is also Weberesque. He went on planning and writing operas, but his daily bread-earning work was rehearsing his company and conducting. The experience must have been invaluable to him; but there is nothing especially remarkable to record of the period. Wagner himself left an account of the failure of Das Liebesverbot, which was produced in 1836. The company went to pieces immediately after, and Wagner was glad to find a position at Koenigsberg. This, however, came to nothing, or next to nothing, owing to the director's failure, and again Richard Wagner had to move on, this time to Riga.