Dearest Friend!
You didn't answer my question about a concert in Vienna. My situation soon changed again. Last Wednesday evening the tenor Morini (on whom I had to count in an emergency) sang for the second time, and it turned out that his engagement would be of no use to the theater. To find a way out for Tristan I proposed to the manager to engage you for the three months of your leave—March, April, May. He said that's too late, he wouldn't know what to do until then. Then it occurred to me that Schnorr could be spared in Dresden during the time you are there; the manager requested me to ask him about it immediately. Schnorr now answers me, so far by telegram, that he could not possibly get away for December, January, and February. As I now sit here and ponder my miserable situation, it occurs to me that Schnorr probably could not get away at this time because he has to study something new. In this case, and since he sings your parts in your absence anyway, it seems to me again that you might be able to get away more easily. As far as I know, your position in regard to the Dresden management is now freer than usual. On a combination of these factors I base a new hope that you might perhaps find it possible to get away for December, January, and February as an exception (if for a still longer period, so much the better!). This would be the most desirable thing for me. I hear many good things about Schnorr, also he already knows Tristan, which is of decisive importance in my plan to produce the opera as quickly as possible. But even him I have personally neither heard nor seen; and after the numerous disappointments which I've already had no one can blame me if, in the final analysis, I don't absolutely trust anyone except an old tried and true comrade in arms. So don't brood any longer, but think over the following:
I'm not allowed to go to Dresden where there are two singers who could sing Tristan. In Vienna I have an excellent Isolde, likewise Marke (Beck)—a superb orchestra, an enthusiastic public. Above all—it has already progressed too far; I cannot go back on it again without confirming the slanderous statements that it is impossible to produce, thus making it infinitely more difficult for me to introduce it at any other theaters. All the other singers here know their parts well enough for the opera to be ready in four weeks at the latest if Tristan joins the cast. No singer is more musical than you. I've already made some cuts in the last act: if you can come on December 7th (at the latest), you'll sing Lohengrin a few times this month and/or Tannhäuser, otherwise we'll just rehearse Tristan. You can—if you like—then sing what you wish: only, I frankly confess that your engagement would flatter me most if you would agree to sing only Tristan and my operas.
For heaven's sake see whether you can persuade Lüttichau to do something extraordinary for my sake too, just once. My situation is really terrible, and all because of the hard-hearted behavior which I still find in Dresden! It is in Lüttichau's power to make up for much that I've suffered and still suffer. You see, there are two of you in Dresden for the same part, as far as I know. It must be possible! Certainly! Just a little good will and everything is possible! I beg you, try to do it, and let me hear good news quickly! My doctor has forcibly dragged me along on a trip to Venice so that I can pull through. Tonight I'm going back again. Please, as soon as you can give me some hope, send me a telegram to Vienna, Empress Elisabeth, Weihburg Gasse!
I have to see something succeed once, or I'll go to pieces. If it would only come through you, my old steadfast friend!
Yours,
Richard Wagner
Source: Letters of Richard Wagner: The Burrell Collection, ed. John N. Burk (Macmillan, 1950), No. 243