Luigi Cherubini helped to create a new kind of French opera which reflected the changes that had taken place during the revolution. His music was considered German by many of his contemporaries because of his learned style, sophisticated orchestrations, and contrapuntal skill. During the Consulate and Empire of Napoleon, Cherubini was somewhat removed from operatic life in Paris. He devoted himself to botany, music criticism, and other pursuits. Napoleon disliked him personally, and thought his music contained too many notes, was too noisy, and had too much accompaniment. And Cherubini openly told the emperor that the latter just didn't like music that distracted him from thinking of matters of state. So in 1805, when an offer came from Vienna inviting Cherubini to compose an opera or two for the Viennese stage, he went. There he met Haydn, Beethoven, and Hummel. Haydn is said to have embraced the younger composer as a son, and given him an autograph copy of one of his symphonies. He became close friends with Beethoven and Hummel.

Before composing an opera specifically for the opera house in Vienna, Cherubini presented two of his French works there: Lodoiska and Les Deux Journées. Both were exceedingly well received, but the Germans particularly liked Les Deux Journees, with its Republican ideals and energetic music. During his visit to Vienna, the war between Austria and France escalated, and Napoleon won decisive victories at Ulm and Austerlitz. When Napolean arrived in Austria, he hired Cherubini to provide music at his court, and Cherubini held about a dozen soirees for him. Their relationship seemed to have improved. But when the Treaty of Presburg was signed in December of 1805, and Napoleon asked the composer to return with him to France, Cherubini declined. He still had not produced a work for Vienna, and he wanted to fulfill his contract. The opera Faniska premiered on February 25, 1806. It was hailed by the Viennese public, and Cherubini was feted by the Viennese artistic community.

It is said that of all the contemporaries of Beethoven, Cherubini was the most influential on the great master. Beethoven deemed Cherubini the greatest dramatic composer of the age, and Haydn did likewise. Faniska premiered just a few months after Fidelio, and the two operas are similar in mood, emotional content, plot, and treatment of the orchestra. Although composed completely separately, the two works show much similarity of thinking between the two composers, and similarity of spirit. Faniska, like Fidelio, is a rescue opera. Faniska and her daughter are captured by Count Zamoski and, during the course of the opera, he imprisons her husband, Count Rasinski, as well. Zamoski falls in love with Faniska, and sings a passionate aria with a virtuosic range for the bass voice, beautiful wind accompaniments, and points of imitation. Faniska has a ravishing scene full of obbligato recitativo when she and her daughter are captured. Scenes of villagers, Cossacks, and battle give Cherubini ample opportunity for effective and melodramatic use of the chorus. The story was derived from a French play by Guilbert de Pixerecourt called Mines de Pologne, and written into a libretto by Josef Sonnleithner. Sonnleithner also translated the story of Leonora, ou L'amour conjugal, into a German text for Beethoven.

The premiere of Faniska took place at the Imperial Karnthnerthor Theatre of Vienna, with the Emperor Francis II and his entire court in attendance. The first run lasted twenty-eight performances, and the music was lauded by Beethoven, Haydn, Mehul, the public, and critics. The overture to Faniska is considered a model of the genre, and one of Cherubini's finest compositions.

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