This German Romantic-period opera in a prelude, overture, and three acts, lasting approximately three hours, sets a libretto by Philipp Eduard Devrient (who also sang the part of Heiling at the premiere at the Hofoper on May 24, 1833) based on a Bohemian legend. Marschner is considered the developer of the Weberian style, represented by gothic and often macabre "Schauerromantik" and historical-type stage works with their elaborate action and scenic effects. The music of this opera combines Italian and early Romantic German influences.

The work opens with a prelude (or Prologue) in which Hans Heiling is introduced, a mortal man yet the son of the Queen of the Earth Spirits. A brooding character filled with inner turmoil, he has decided to abandon the subterranean kingdom of gold- and diamond-mining gnomes in order to live on earth with his beloved Anna. This thorough-composed, Byzantine scenario unfolds as a seamless current of eerie elements, including a chorus of Earth Spirits, and combines aria, dramatically declamatory recitative, ensembles, and a duet between Heiling and his mother in which she makes him promise that he will return if his heart should ever be broken in the world of mortals; all of these standard operatic forms are expanded beyond their usual functions. Much timbral and harmonic coloring are explored by the full orchestra, which also includes a thunder machine and three extra trombones beneath the stage.

For the sojourn in the world above, the music changes to the more traditional "Singspiel" with its melodic arias and bright choruses woven together with sung dialogue. Anna is unaware of Heiling's otherworldly heritage but perceives that he is troubled and divided within himself, and that creates fear in her. She does convince him to destroy a magical book that he brought from the underground realm. Heiling does so because he believes he will only become completely human through Anna's love. At the end of Act I, there is a celebration in the local village. Happy for once, Anna dances with her friend Konrad. Heiling sees the two together and this makes him despondent.

At the beginning of Act II, Anna has become disoriented and loses her way in the forest. She encounters the Queen of the Earth Spirits who insists that Anna part from her son Heiling. Anna blacks out and is soon located and revived by Konrad. In this setting, they discover that they love each other, and Anna is momentarily released from her fear. Soon, Heiling, who has also been searching for Anna, arrives. Anna tells him she cannot marry him because she now knows that he is not entirely a mortal human, and Heiling, enraged, stabs Konrad.

Konrad lives and Heiling, determined upon revenge, calls upon the Earth Spirits to help him attack Konrad during his wedding to Anna. At the last moment, the Queen reminds Heiling of his promise to return (given during the prelude). The work ends with the ensemble praising heaven for their salvation.

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