Best Fellow and Friend!
You haven't answered me. But I have learned from others that having read my statement about the Paris Opéra enterprise you expressed the conviction that you had to take part in it. I assumed this anyway.
So hear, friend, how far the matter has advanced.
Everything is possible, and in two or three weeks everything can be fixed and assured, that is, as soon as all the singers whom I have approached give me favorable information on two items.
Therefore I ask you:
1. Will you be able to arrive here in the last week of April next year and can you promise me your participation until the 16th of June?
2. How much do you demand for that period?
I know, dear friend, that it is especially hard for you to make real financial sacrifices, and therefore I assume you will reduce your demands as much as you can without suffering a considerable loss.
On the other hand you may imagine that the whole bold venture can only seem acceptable to the entrepreneur here—the guarantor of the shareholders of the Théâtre Ventadour—if the balance sheet of expenses is in a reasonable relationship to the possible receipts. The actual guarantor is a man who offers his guarantee out of enthusiastic interest in the enterprise and without the slightest expectation of any gain, which he would even refuse. Since I would tackle the matter only if I were sure of offering a presentation genuine and noble in every sense, I can face only such losses as could be met by my guarantor.
This should suffice for you. So, if your answer and those of the other singers are favorable, all the rest can easily be arranged. The lesser requirements are always easy to procure. Then I shall also approach you with many requests for artists. I shall need twelve excellent choral singers: I think we may draw them in couples on leave from different theaters.
A few second and third singers can be easily found.
As for the soprano, I shall have to keep Ney (in spite of everything), for I need—especially for Isolde—voice, voice, voice! I can't use any insignificant or worn-out organ. I believe I shall have to give up Johanna. For a long time I haven't had anything from her which could be called a sacrifice for me: she has done as much for any other composer and even more than for me. Besides, I no longer know how her voice is. Some say one thing, some say another. On the whole it turns out that her range has enormously decreased. Otherwise—well, I would surely prefer her! But how could I rely upon her?
As for the alternating singer, I think of Meyer-Dustmann in Vienna, although even she is not really what I need, but where may I find such a one? She at least is devoted to me, has fire, a good voice, and—will gladly make any sacrifice for me. As for Ortrud, Venus, Brangäne—can you recommend Fischer-Nimbs? Or whom else?
Since you cannot possibly sing such parts as mine twenty times within six weeks, and since at any moment a sudden indisposition must be considered, which would terribly embarrass us, I plan to engage Niemann together with you. Or whom would you suggest? I don't know anybody else.
In each discussion I count on unreserved artistically cordial agreement: this is my firm condition. Everybody must help where he can, in order that we may offer something unprecedented, ideal, to the world. But I suggest the following arrangement: Each of you takes over one part, and each substitutes in a second part in case of sickness. You both are to study the Tristan, but you are to sing it first. What do you think? Everything can be well arranged, presupposing really artistic good will, especially if you can do it to favor an extraordinarily harassed author like me.
One thing more: I badly need the Tannhäuser scenery and costume sketches and scenario. Try to get these for me. As for Lohengrin, I should rather apply to Berlin, shouldn't I?
Help me a little, Tschekel! You have much experience; I don't know anything at all. And so God protect us for today! Let me hear from you soon, and be assured that I am looking forward to seeing you.
Your most faithful
Richard Wagner
Source: Letters of Richard Wagner: The Burrell Collection, ed. John N. Burk (Macmillan, 1950), No. 215