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The success of Rienzi (1840) led him to be more adventurous in The Flying Dutchman (1843), and even more so in Tannhauser (1845). Caught up in the political turmoil of 1848, he was forced to flee Dresden for Zurich. During this enforced vacation, he wrote influential essays, asserting (following G. W. F. Hegel) that music had reached a limit after Ludwig van Beethoven, and that the "artwork of the future" would unite music and theater in a Gesamtkunstwerk ("total artwork"). In 1850 he saw Lohengrin produced. He had begun his most ambitious work, The Ring of the Nibelung, a four-opera cycle. The need for large-scale unity brought him to the concept of the leitmotiv...
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