Franz Schubert's final attempt at a Singspiel was Die Verschworenen (The Conspirators, D. 787), a loose adaptation of three comedies by Aristophanes: Lysistrata, Ecclesiazusae (Assemblywomen) and Thesmophoriazusae (Women at the Thesmophoria). Composed in 1823, but not premiered until 1861 (in Vienna), the work was successfully revived for its United States premiere 18 months later, in Hoboken, New Jersey, for a thriving German-American cultural community at the time of the American Civil War. The historical conditions of early performances in Hoboken and the Kleindeutschland neighbourhood of Manhattan, and the reasons for the work's programming by its conductor, Friedrich Adolf Sorge, a prominent German-American political and labour leader who wanted the arts to ‘shake up the people’, are addressed. Schubert's Singspiel had several layers of meaning for its audiences of mostly German immigrants living in the New York City area: as an adaptation of Aristophanes’s Lysistrata, set in the Crusades, it was a comic plea for peace both in the early years of the Civil War and amid the violent political strife on the path toward German unification. Its use of parts of Aristophanes’s Ecclesiazusae suggested relevance to labour disputes that Sorge had been involved in since the 1850s and would eventually lead himself after establishing the New York Section of the International Workingmen's Association. In this context, Schubert's work becomes both Germanic and Hellenic, medieval and modern, thereby becoming an assurance of Old-World culture for its varied German-American audiences.

弗朗茨·舒伯特在Singspiel中的最后一次尝试是Die Verschworenen （ The Conspirators，D. 787），改编自阿里斯托芬的三部喜剧： Lysistrata、Ecclesiazusae （女议员）和Thesmophoriazusae （ Thesmophoria的女性））。创作于 1823 年，但直到 1861 年（在维也纳）才首演，该作品在 18 个月后在新泽西州霍博肯为美国内战期间蓬勃发展的德裔美国人文化社区成功恢复美国首演. 霍博肯和曼哈顿 Kleindeutschland 社区早期演出的历史条件，以及该作品由其指挥弗里德里希·阿道夫·索尔格（Friedrich Adolf Sorge）编排的原因，他是一位著名的德裔美国政治和劳工领袖，他希望艺术“震撼人民” , 得到解决。舒伯特的Singspiel对于居住在纽约市地区的大多数德国移民的观众来说有几层意义：作为对阿里斯托芬的Lysistrata 的改编，以十字军东征为背景，在内战初期和德国统一道路上的暴力政治冲突中，这是一个可笑的和平请求。它使用了 Aristophanes Ecclesiazusae的部分内容，这表明与 Sorge 自 1850 年代以来一直参与的劳资纠纷有关，并最终在建立国际工人协会纽约分会后领导自己。在这种背景下，舒伯特的作品既成为日耳曼人又成为希腊人，既是中世纪又是现代人，从而成为其各种德裔美国人观众对旧世界文化的保证。