In order to shorten the time length of the performance of my opera Rienzi, I herewith indicate the following cuts as the least disfiguring.
1st Act. In the finale a cut can be made from p. 144 to p. 156. I do not, however, like to suggest this cut.
2nd Act. P. 68 (after the 5th measure) to p. 72 (6th measure). Very advisable. Then: Instead of p. 80, go right to p. 99. Likewise very advisable, since the remaining ballet music already has completely lost its true character through the omission of the originally intended pantomime. The gymnastic divertissements which were arranged for Dresden could only appear unsuitable and unworthy to every cultivated listener, much as they pleased the gallery, and I for my part wish that they may definitely be omitted. In their place only (E)—festive dance, by the entire company of dancers and extras, shall be performed as a characteristic, serious, festive round dance. In any case, that shortens it and sacrifices nothing important.
3rd Act. For the very considerable cutting of the finale, the arrangement which I made expressly for Hamburg is to be used. I therefore request that the score of the theater there be examined and the finale of this act arranged accordingly. The great war march is completely omitted, and the martial procession strides forward as if to battle, to the first verse of the battle hymn; then the scene between Rienzi and Adriano, as in the score, and the second verse of the hymn; the act then closes with the departure for the battle. A special conclusion is to be found in that Hamburg score.
4th Act. No cut.
5th Act. It is left to the singer's discretion to omit the arioso in A major, "Wohl liebt' ich glühend meine hohe Braut," and the final address to the people in the finale.
Richard Wagner
Zürich, July 17, 1858
Source: Letters of Richard Wagner: The Burrell Collection, ed. John N. Burk (Macmillan, 1950), No. 183