An important review in manuscript by an unidentified critic concerning the posthumous staged premiere of Schubert's Die Verschworenen (sometimes called Der Häsliche Krieg) in August 1861 at Frankfurt am Main. The critic praises the theater conductor Georg Goltermann for advocating for the work's performance, especially as the present addiction is to encourage only foreign works.

The review focuses mostly on the work itself rather than the performance, highlighting the abundance and appeal of the melodies, the original and striking instrumentation, and the extremely effective choirs and ensemble pieces. The critic closes with hopes that the opera, which shines on the bleak horizon like an unexpected comet, will soon make the rounds in all the best theaters and stages.

It would have seemed the most unlikely of outcomes to Schubert that his eighth opera, Die Verschworenen, was to become the most performed of all his staged works. When he completed the Singpspiel in 1823, the censors at the Kärtnertortheater opposed its "seditious" title -- The Conspired -- and requested that it be changed. But even after Schubert adopted the less offensive Der Häusliche Krieg, he could not generate interest in the new work and soon focused his attention on other projects. A forgettable slapdash performance with piano accompaniment took place two years after his death.

A concert performance of the opera in Vienna in March, 1861 may have been the impetus for Georg Goltermann (1824-1898), the German cellist, conductor, and composer, to push for the work's proper staged premiere in Frankfurt, where he served at the theater as assistant music director. The premiere took place on August 29, 1861, and from then on, the Der Verschworenen, despite its inauspicious start, has enjoyed regular performances and positive reviews.