Cosima's Diaries

Diary Entry of November 11, 1880

Overview

After the late Lohengrin evening, Richard worked on the Parsifal program and spoke intensely about Elsa’s tragic fate and the opera’s lack of reconciliation. They visited the town hall and Lenbach again, then heard Die Zauberflote, which he praised as deeply German, and later she noted with satisfaction that he agreed with her views on how artistic institutions should recognize new work in its own time.

Content

Thursday, November 11:

R. and I up very late, for the performance lasted until midnight, and R. wanted to chat a little afterward. He works out the program for Parsifal, and we talk a lot about the tragic element in Lohengrin, which offers no reconciliation. Love produces faith, life produces doubt, which is punished unatoned. The lovingly faithful Elsa has to die, since the living Elsa must put the question to him. And all the scenic splendor, all the glory of the music, seem to be built up to throw light on the unique value of this one heart.

Drove with R. to the town hall; in Lenbach's portrait of the King he does not see the King as he knows him. Sitting for Lenbach. We dine at 5 o'clock and then go to see Die Zauberflöte. R. describes this work as the genesis of the German character, and he draws our attention especially to Pamina's aria (G minor).

Back home, much about Mozart's amiable genius. When Herr Levi is talking about concert programs, I tell him my view, which is that it is now too late for the works of Berlioz or my father, and that these should have been played in public immediately on their appearance as interesting novelties, not 20 years later as classical works; I say that the head of an artistic institution should possess the gift of recognizing original works which are worthy of the attention of their time and should support them, as happens in both painting and literature. R. agrees with me, which is why I note it down.