Wagner (of which Joplin was aware). A sacred tree Treemonisha sits beneath recalls the tree that Siegmund takes his enchanted sword from in Die Walküre, and the retelling of the heroine's origins echos aspects of the opera Siegfried. In addition, African-American folk tales also influence the story—the wasp nest incident is similar to the story of Br'er Rabbit and the briar patch. Treemonisha is not a ragtime opera—because Joplin employed the styles of ragtime and other Black music sparingly, using them to convey "racial character" and to celebrate the music of his childhood at the end of the 19th century. The opera has been seen as a valuable record of rural Black music from late 19th century, re-created by a "skilled and sensitive participant." Berlin speculates about parallels between the plot and Joplin's own life. He notes that Lottie Joplin (the composer's third wife) saw a connection between the character Treemonisha's wish to lead her people out of ignorance and a similar desire in the composer. In addition, it has been speculated that Treemonisha represents Freddie, Joplin's second wife, because the date of the opera's setting was likely to have been the month of her birth. At the time of the opera's publication in 1911, the American Musician and Art Journal praised it as "an entirely new form of operatic art." Later critics have also praised the opera as occupying a special place in American history, with its heroine "a startlingly early voice for modern civil rights causes, notably the importance of education and knowledge to African American advancement." Curtis's conclusion is similar: "In the end, Treemonisha offered a celebration of literacy, learning, hard work, and community solidarity as the best formula for advancing the race." Berlin describes it as a "fine opera, certainly more interesting than most operas then being written in the United States," but later states that Joplin's own libretto showed the composer "was not a competent dramatist," with the book not up to the quality of the music. As Rick Benjamin, the founder and director of the Paragon Ragtime Orchestra, found out, Joplin succeeded in performing Treemonisha for paying audiences in Bayonne, New Jersey, in 1913. On 6 December 2011, the centenary of the Joplin piano score's publication, New World Records released an entirely new recording of Treemonisha. August 1984 saw the German premiere of Treemonisha at the Stadttheater Gießen. In October 2013, Nicolás Isasi directed