the stake. Meanwhile, Rezia, now called Palmine and part of the sultan's harem, fights off his advances and says she would rather die in flames than submit. The two are chained together and about to be burned in the public square, but Oberon and Titania appear and free the pair, and Holger once more uses the horn to make his enemies dance until they are helpless. Both fairy and human couples are united at last, and the opera ends with a chorus of joy. Holger Feud and the opera's later history Holger Danske is now considered one of the masterpieces of Danish opera, but when it opened on 31 March 1789 it sparked off a heated controversy, the "Holger Feud," having nothing to do with the merits of the opera itself. There had been considerable tension over the influence and attitudes of Germans in Denmark since the rise and fall of Johann Friedrich Struensee almost two decades earlier; nationalists like the leading reviewer Knud Lyhne Rahbek attacked Baggesen and his German collaborator, and opponents of opera in general like the witty satirist Peter Andreas Heiberg joined in. Baggesen was so unnerved by the attacks that he requested the opera be withdrawn after only six performances, and he and Kunzen left the country; though both returned and had success in Denmark later, the opera was never again performed in their lifetimes, to the distress of critics like Peter Grønland, who in 1792 praised the opera highly and said he could not understand why it was "no longer performed." Ole Kongsted writes of the later fate of the opera: "One performance of the first act at a Royal Orchestra Widows' Pension Fund concert in 1804 made no impact, and the opera was never again part of the repertoire of the Royal Theatre. The work lay hidden away until Kunzen's biographer Martienssen had it performed in 1912 at the Cecilia Society. Then it was forgotten again until it was performed a few times at the Royal Theatre in 1941; Poul Kanneworff directed, Harald Lander did the choreography, and Johan Hye-Knudsen conducted. In the same version, the opera was then repeated in 1944, and — oddly enough — it was now considered, 150 years later, to be a national Danish manifestation against the German occupation. Nils Schiørring — the greatest expert on Danish musical history — thought that Holger Danske must be considered "the