Saturday, November 29:
The sketches do not arrive until 3 o’clock, and so two days have been wasted through carelessness. Brandt and Hoffmann inspect the theater and find it all in good order.
Brandt tells us about Semper in Vienna, how he had asked Brandt whether they could not utilize the mystic room in the new Burgtheater. I find it annoying how people talk about his inspired ideas in so piecemeal a fashion, when they can work properly only in the right context.
In press, the only questionable aspect being the downgrading of the dramatic intentions in favor of an elaboration of the scenery. This is particularly disturbing in Hunding’s hut, and above all in Gunther’s Court, which is designed very sensibly, but is much too ostentatious. A difficult situation for R. However, Herr Hoffmann is an earnest man, and he will, I believe, adapt himself to R.’s ideas despite his great obstinacy.
Spent the evening together with Brandt and Hoffmann. Gunther’s hall leads to violent debates; R. is against all pomp, and explains how he turned his back on subjects such as Lohengrin and Tannhäuser in order to do away entirely with outward pomp and present human beings without any conventional frills. R. is very tired in the evening. Die Meistersinger has been staged anew in Berlin and received, so it seems, with tremendous acclaim.