The representative of Lohengrin alone appears, according to all accounts, really incapable. Would it not be possible to make in this instance a change of persons? To my mind everybody ought to be glad when Lohengrin enters, instead of which it appears that people were more pleased when he left the stage. At this moment I receive your letter, a.s.suring me of your joy and friendship. What good spirits you are in!
I will close this long letter, which must have bored you very much, by comprising all the single points I have mentioned to you in a final and weighty bundle of prayers.
1. Arrange by the intervention of Genast that before the second performance the singers have another rehearsal according to the above indications. Let no scenic remark remain unnoticed.
2. Insist firmly and sharply that the singers perform in decisive and lively tempo what they take to be recitatives in my opera. By this means the duration of the opera will, according to my experience, be shortened by nearly an hour.
3. Further, I desire that, with the exception of the second part of Lohengrin"s tale, which I determined from the beginning to cut, my opera should be given as it is, without any omissions.
If cuts are made, the chain of comprehension will be torn asunder, and my style, which the public are only just beginning to take in, so far from being made more accessible, will be further removed from the public and the actors. To capitulate to the enemy is not to conquer; the enemy himself must surrender; and that enemy is the laziness and flabbiness of our actors, who must be forcibly driven to feel and think. If I do not gain the victory, and have to capitulate in spite of my powerful ally, I shall go into no further battles. If my "Lohengrin" can be preserved only by tearing its well-calculated and artistic context to pieces, in other words if it has to be cut owing to the laziness of the actors, I shall abandon opera altogether.
Weimar in that case will have no more interest for me, and I shall have written my last opera. With you, dear Liszt, who have so bravely accepted my battle, it lies to gain a complete victory for me. I do not know what more I could say; to you I have said enough. To Genast, for whom also this letter is intended, I shall write separately as soon as I know that my demand has not offended him. To Zigesar I write tomorrow.
In the meantime I post this letter in order not to incur the reproach of delay.
Farewell, then, dearest, splendid friend. You are as good as refreshing summer rain. Farewell. Be thanked, and greet my friends.
Always your most obliged
RICHARD WAGNER
ZURICH, September 8th, 1850
One thing more: as you have no organ and no harmonium (physharmonika), I want you to let the short organ-pa.s.sage at the end of the second act be played by wind instruments behind the scenes.
Lohengrin should sing the words "Heil dir, Elsa! nun la.s.s vor Gott uns gehen!" with tender emotion.
42.
(TO HERR VON ZIGESAR.)
MOST ESTIMABLE HERR INTENDANT,
On my return from a little trip to the Alps, I find the copies of the libretto of "Lohengrin" which you have kindly sent to me, and have every reason to rejoice heartily at the remarkable care with which you have had it done. This is another ocular proof of the sympathy with which you have gone to work in everything concerning my last opera, and I must not omit to express my warmest thanks to you. Your last letter, in which you kindly enclosed the honorarium for my "Lohengrin," tells me of the success of all your extraordinary exertions for the performance of the opera, and I see with regret from your friendly communication that satisfaction, in the measure desired by you, has not been the result, and that a permanent success appears doubtful to you. As with this statement you combine no objection to the work itself, but, on the contrary, a.s.sure me that to the best of your intention and power you will try to secure that desired success for my opera, I feel bound to add to the expression of my grat.i.tude for your kind feeling my opinion as to how our mutual wishes might be realized.
Most esteemed Herr Intendant, with full knowledge of the matter at stake, you have undertaken by its performance at your theatre to give life to a dramatic work the essence of which is that it is in all its parts a continuous whole, and not something incongruous, made up of many different parts. The author of this work does not wish to shine by the effect of single musical pieces; music to him is altogether no more than the most exalted and most comprehensive mode of expression of what he desired to express--the drama. Even where music became a mere ornament I remained conscious of having acted in accordance with a certain artistic necessity, and each necessary effect was brought about only by the fact that, like the link of a well-forged chain, it derived its significance from the preceding links. If this chain were torn asunder by the removal of the whole, or a half, or a quarter of a link, the whole context would be torn along with it, and my intention would be destroyed. You admitted to me yourself that in certain cases about which at first you had doubts you had been finally convinced of the necessity of this concatenation, but the impression made upon you by the performance has again renewed this doubt, to the extent, at least, that you think it advisable, in consideration of the public, to consent to certain omissions in my opera. Permit me to think a little better of the public. An audience which a.s.sembles in a fair mood is satisfied as soon as it distinctly understands what is going forward, and it is a great mistake to think that a theatrical audience must have a special knowledge of music in order to receive the right impression of a musical drama. To this entirely erroneous opinion we have been brought by the fact that in opera music has wrongly been made the aim, while the drama was merely a means for the display of the music. Music, on the contrary, should do no more than contribute its full share towards making the drama clearly and quickly comprehensible at every moment. While listening to a good--that is, rational--opera, people should, so to speak, not think of the music at all, but only feel it in an unconscious manner, while their fullest sympathy should be wholly occupied by the action represented. Every audience which has an uncorrupted sense and a human heart is therefore welcome to me as long as I may be certain that the dramatic action is made more immediately comprehensible and moving by the music, instead of being hidden by it. In this respect the performance of my "Lohengrin" at Weimar does not as yet seem to have been adequate, in so far as the purely musical part was much more perfect than the dramatic, properly so called, and the fault I attribute solely to the general state of our opera, which from the outset has the most confusing and damaging influence on all our singers. If during the performance of my "Lohengrin" the music only was noticed, yea almost only the orchestra, you may be sure that the actors remained far behind their task. Yesterday I wrote at length to my incomparable friend Liszt about this, and explained to him my views as to how the matter might be managed so as to place the performance in the right light. If in future the so-called recitatives are sung as I have asked Liszt to insist upon their being sung, the halting and freezing impression of whole, long pa.s.sages will disappear, and the duration of the performance will be considerably shortened. If cuts were resorted to, you would gain comparatively little time, and would sacrifice to our modern theatrical routine every possibility of thorough reform. I can imagine, for instance, that the speeches of the king and the herald may have made a fatiguing impression, but if this was the case because the singers sang them in a lackadaisical, lazy, and slovenly manner, without real utterance, is then the interest of art benefited by curtailing or omitting these speeches? Surely not. Art and artists will be equally benefited only if those singers are earnestly requested to p.r.o.nounce those speeches with energy, fire, and determined expression. Where no effect is made no impression can be produced, and where no impression is produced people are bored; but is it right, in order to shorten that boredom, to remove what with a proper expression would produce the necessary effect? In that case it would be better to drop the whole work, which, for want of proper expression, would be in danger of failing to produce the necessary effect. For if we yield in small and single things, if we make concessions to laziness and incompetence, we may be sure that we shall soon be obliged to do the same throughout; in other words, that we must give up every attempt at making a work like the present succeed.
It appears to me preferable to find out with the utmost care where the real cause of the existing evil lies, and then to attack the enemy in his own camp with perseverance and power. You will see from this, most esteemed Herr Intendant, how important it is for me not to gain toleration for my Lohengrin by accommodating it to existing evils, but to secure for it a decisive success by making it conquer existing evils. Otherwise I confess openly that the future chances of this opera would have no value for me; in that case I should only regret the amount of exertion, trouble, and sympathy which you have kindly wasted on this work. Fame I do not seek, gain I had to renounce long ago, and if now I have at last to experience that even my most energetic friends and patrons think themselves obliged to make concessions for my benefit where a real victory can alone be of value, I shall lose every wish and every power to be further active in my art. If you can keep my "Lohengrin" going only by truncating its healthy organism, and not by operating to the best of your power on the diseased organism of our truncated operatic body, then I shall be cordially glad if you are rewarded for your pains according to circ.u.mstances, but I must ask you not to be angry with me if I look upon such a success with indifference.
What to you is a matter of benevolence towards me is for me, unfortunately, a vital question of my whole mental existence in art, to which my being clings with bleeding fibres.
May Heaven grant that you, highly esteemed sir and patron, will take the contents and expression of these lines in good part, and that you will not for a moment doubt that always and in all circ.u.mstances I shall look upon you as one of the most sympathetic phenomena that have entered my existence. In all respects I owe you love and unbounded grat.i.tude. If I should never be able to show this to you, as from my whole heart I desire, I ask you fervently to attribute it, not to the wish of my inmost soul, but to the position which I, as an artist with a pa.s.sionate heart, must, according to my firm conviction, take towards the state of deep depravity of our public art-life.
With the highest esteem and veneration, I remain yours obediently,
RICHARD WAGNER
ZURICH, September 9th, 1850
43.
DEAREST LISZT,
I must today write you a few additional lines with reference to my recent long letter.
Karl Ritter arrived here last night from his journey; and from his account I see that in my surmises as to certain points in the performance of "Lohengrin," founded chiefly on some striking remarks in Dingelstedt"s notes, I have not hit the right thing.
Ritter tells me that, contrary to what I thought, you have kept up the tempo of the recitatives according to my indications, and that therefore the dreaded caprice of the singers, as far, at least, as the tempo was concerned, had no license. For this also I must thank you, but am a little perplexed as to the advice I recently gave you. By keeping up the tempi of the recitatives I had chiefly intended to shorten the duration of the performance, but I see now that you had already done the right thing, and therefore remain astounded at my own error as to the length of the opera, which is certainly detrimental. My opinion is that if, as I much desire, the higher context is not to be destroyed by cuts, the public must be deceived as to the duration of the performance by your making the singers p.r.o.nounce the recitatives as vividly and as speakingly as possible; it is quite possible for them to sing them in the proper tempo without giving interest to them by warmth and truth of declamation. Moreover, the performance will, of its own accord, become more compact as time goes on. I have made this experience at the performances of my operas which I conducted myself, the first performances always lasting a little longer than the subsequent ones, although nothing had been cut in these. This will probably be the case with the performance of "Lohengrin" in Weimar, which only now that I have been able to ask about many difficult details I can appreciate in its excellence and perfection as regards the musical portion.
I now come to the princ.i.p.al thing. You cannot believe how delighted I was to hear some particulars of your music to "Prometheus." Our friend Uhlig, to whom I attribute excellent judgment, sends me word that he values this single overture more than the whole of Mendelssohn. My desire to make its acquaintance is raised to the highest pitch. Dearest friend, will you be kind enough to let me have a copy soon, if I ask you particularly? You would please me immensely, and I already contemplate the possibility of having it played to me at a concert here in Zurich. Now and then I shall take an interest in the local musical performances, and I promise you that your work will not be heard otherwise than in the most adequate conditions that can be obtained. Could I also have your overture to Ta.s.so? When I look upon your whole life and contemplate the energetic turn which you have given to it of late years, when I further antic.i.p.ate your achievements, you may easily imagine how happy I shall be to give my sincerest and most joyous sympathy to your works. You extraordinary and amiable man, send me soon what I ask you.
Enough for today.
I am always and wholly yours,
RICHARD WAGNER
ZURICH, September 11th, 1850
44.
DEAREST FRIEND,
The second performance of your masterpiece has answered my expectations, and the third and fourth will bring home to every one the opinion I expressed as soon as we began rehearsing "Lohengrin," namely, that this work will confer on a public making itself worthy of understanding and enjoying it more honour than that public could confer upon the work by any amount of applause.
"Perish all theatrical mud!" I exclaimed when we tried for the first time the first scenes of "Lohengrin." "Perish all critical mud and the routine of artists and the public!" I have added a hundred times during the last six weeks. At last, and very much at last, I have the satisfaction to be able to a.s.sure you very positively that your work will be better executed and better heard and understood from performance to performance. This last point is, in my opinion, the most important of all, for it is not only the singers and the orchestras that must be brought up to the mark to serve as instruments in the dramatic revolution, which you so eloquently describe in your letter to Zigesar, but also, and before all, the public, which must be elevated to a level where it becomes capable of a.s.sociating itself by sympathy and intelligent comprehension with conceptions of a higher order than that of the lazy amus.e.m.e.nts with which it feeds its imagination and sensibility at our theatres every day. This must be done, if need be, by violence, for, as the Gospel tells us, the kingdom of heaven suffers violence, and only those who use violence will take it.
I fully understand the motive which has made you speak with diplomatic reserve of the audiences of "Lohengrin" in your letter to Zigesar, and I approve of it. At the same time, it is certain that, in order to realize completely the drama which you conceive, and of which you give us such magnificent examples in "Tannhauser" and "Lohengrin," it is absolutely necessary to make a breach in the old routine of criticism, the long ears and short sight of "Philistia," as well as the stupid arrogance of that self-sufficient fraction of the public which believes itself the destined judge of works of art by dint of birthright.
The enemy to whom, as you, my great art-hero, rightly put it, one should not capitulate--that enemy is not only in the throats of the singers, but also very essentially in the lazy and at the same time tyrannical habits of the hearers. On these as well as on the others one must make an impression if necessary by a good beating. This you understand better than I could tell you.
In accordance with your desire, we have at the second performance of Lohengrin not omitted a single syllable, for after your letter it would, in my opinion, have been a crime to venture upon the slightest cut. As I took occasion to tell those of my friends who were here on August 28th, the performance of your works, as long as you entrust me with their absolute direction, is with me a question of principle and of honour. In these two things one must never make a concession; and, as far as I am personally concerned, you may rest perfectly a.s.sured that I shall not fail in anything which you have a right to expect from me. In spite of this, both Herr von Zigesar and Genast feel bound, in the interest of your work, to address you some observations, which I, for my part, have declined to submit to you, although I think them somewhat justified by the limits of our theatre and of our public, which are as yet far behind my wishes and even my hopes.
If you think it advisable to agree to some cuts, kindly let me know your resolution as to this subject. Whether you accept those proposed by Genast, or whether you determine upon others, or whether, which is probable, you prefer to keep your work such as we have given it twice, I promise you on my honour that your wish shall be strictly carried out, with all the respect and all the submission which you have a right to demand by reason of your genius and of your achievements.
Whatever determination you come to in this regard, be certain that in all circ.u.mstances you will find in me zeal equal to my admiration and my devotion.
Wholly yours,
F. LISZT.
September 16th, 1850.
P.S.--Remember me kindly to Herr Ritter. I am very thankful to him for not having spoken too ill of our first performance of "Lohengrin;" the second has been much more satisfactory, and the third and fourth will no doubt be still more so. Herr Beck, who takes the princ.i.p.al part, endeavours in the most laudable manner not to be below the task allotted to him. What is more, he begins to feel enthusiasm for his part and for the composer. If one considers fairly the enormous difficulty of mounting such a work at Weymar, I can tell you sincerely that there is no reason for dissatisfaction with the result which has so far been attained, and which beyond a doubt will go on improving with every representation.
I do not know whether the sublimity of the work blinds me to the imperfection of the execution, but I fancy that if you could be present at one of our next representations you would not be too hard upon us.