Editing Opera in German (section)

===Other composers of the time===
Weber's most important successor in the field of Romantic opera was [[Heinrich Marschner]], who further explored the [[Gothic art|Gothic]] and the supernatural in works such as ''[[Der Vampyr]]'' (1828) and ''[[Hans Heiling]]'' (1833). On the other hand, it was with comic opera that [[Albert Lortzing]] scored his biggest successes. The popularity of pieces such as ''[[Zar und Zimmermann]]'' continues in Germany today, though Lortzing's operas are rarely staged abroad. Though he began in Germany, [[Giacomo Meyerbeer]] was more famous for his contributions to Italian and (especially) French opera. He fused elements from all three national styles into his conception of [[grand opera]], which had an important influence on the development of German music, including Wagner's early works. Other notable operas of the time include ''[[Die lustigen Weiber von Windsor]]'' (1849) by [[Otto Nicolai]] and ''[[Martha (opera)|Martha]]'' (1847) by [[Friedrich von Flotow]]. Later came [[Peter Cornelius]] (''[[Der Barbier von Bagdad]]'', 1858), [[Hermann Goetz]] (''[[Der Widerspänstigen Zähmung]]'', 1874) and [[Karl Goldmark]] (''[[Die Königin von Saba]]'', 1875).

Mention should be made of two great composers of the era who wrote their major works in other genres yet also composed operas: [[Franz Schubert]] and [[Robert Schumann]]. Schubert wrote over a dozen operas, mostly in the ''Singspiel'' style. Hardly any were performed during the composer's lifetime. Schumann only wrote one opera, ''[[Genoveva]]'', first staged in [[Leipzig]] in 1850. Though praised by [[Franz Liszt|Liszt]], it failed to win lasting success. The verdict on both these composer's operas has generally been that, though they contain excellent music, they have too many dramatic weaknesses to be acclaimed as great stage works.{{sfn|Parker|1994|pp=212–217}}<ref>{{harvnb|Grout|2003|loc="Romantic Opera in Germany", pp. 417–436}}. Conductor [[Nikolaus Harnoncourt]] strongly disagrees with dismissals of ''Genoveva''. See the essay "Reinventing Opera" in the booklet to Harnoncourt's recording of Schumann's opera (Teldec, 1997).</ref>