Described in the libretto as a phantastische Comödie (fantastic comedy), it was based on Alfred de Musset's 1834 play of the same name.

[1][2] Smyth turned to composing opera on the advice of conductor Hermann Levi, who praised her aptitude for dramatic composition when she showed him her Mass in D in Munich.

The correspondent for the Musikalisches Wochenblatt [de] described it as a mediocre production with the exception of the leading roles.

[4] Although many noted the difficulty of her score and some felt she had tried to be too clever, using heavy and complicated techniques where lightness and simplicity would have been more appropriate, Smyth's claims of praise for her orchestration are corroborated by the reviews.

[6] Smyth later acknowledged that the libretto was weak and out of kilter with the tempestuous music,[7] but thought that the experience had been valuable for her subsequent operatic career.