My gracious friend! My generous benefactor!
If a proud-spirited undertaking by my exalted patron at which the whole of art-loving Europe now gazes in eager expectation has not become an object of universal mockery, it is due to the courage and self-sacrifice of my outstanding disciple and faithful representative Hans Richter. - From the reports of discriminating friends who came to Munich expressly for my work and who would (as they tell me) gladly have closed an eye to the scenery in order to be able to enjoy it, - from these reports I have been forced to infer that this work of mine was exposed to the immediate risk of appearing ridiculous. I took the liberty of submitting to you a report by the singer Betz, who is himself one of the affected parties, and this report confirms the risk. Liszt, who is accustomed to pay scant heed to the stage and devote his attention, instead, to the musical performance alone, confirms that this performance was beyond reproach, but that, the scenery having turned out as badly as it has, a performance of the work is now impossible.
My reluctance to raise a word of protest against my royal friend, who has desired the Rhinegold to be performed, was in itself an act of painful self-denial, for it was now no longer possible to fulfil the encouraging reassurances that had once been offered me: even so, I believed that I still might accede to your desire, inasmuch as I was able to imagine that the performance which was to be given would at least be decently acceptable. Whereas a perfect and uniquely worthy performance could have been achieved only through my own co-operation and with the aid of knowledge and expertise which I alone possess, I was bound on this occasion to refuse my co-operation, and to refuse it, moreover, for reasons that I wish had been the object of earnest and sincere enquiry. Instead, I had to leave the affair to run its course, relying for a tolerably good outcome upon the certainty of being able to ensure a correct interpretation of the music by a conductor loyally devoted to me, and secondly upon the assumption that the new and most distinguished machinist Brandt would be able to supervise the scenery, at least in the sense of the best modern theatre administrations, if I were able to confer with him in detail. Even this last-stated assumption appeared to be confirmed, inasmuch as I was able to discuss each and every point of the stage presentation with Herr Brandt, who was sent to me at my express wish, accompanied by the producer Hallwachs, and to discuss these points in such a way that I was able to gain the most favourable impression concerning this young man’s calm and serious intelligence and to feel very satisfied in this respect, too, now that all the difficulties appeared to have been solved. About four weeks ago, however, in response to my anxious entreaty, I was visited by the scene-painter Jank, who came to submit his designs for my approval. To my astonishment, I now discovered that the scene-painter had been kept in total ignorance of all my discussions with Brandt, and that, in consequence, orders had been issued without regard for my own instructions. When I asked why this was so, I discovered that the intendant had had no intention of regarding Herr Brandt & Herr Hallwachs as my plenipotentiaries, and that he had refused, in this spirit, to accept their report, but that, on the contrary, he had, at his own discretion, invited both stage-managers, Brandt & Penkmayer, to compete with each other, a competition which he, Herr von Perfall (presumably as an experienced and enlightened expert), reserved for himself the right to judge. He decided in favour of Penkmayer’s designs, at least in the main parts, which he distilled together into a kind of compromise which robbed Herr Brandt of all freedom to implement those ideas of his which I myself had praised as sound. - As if this modus operandi was not bad enough (and in the end there was nothing I could say to it, except that they should do as they liked), there was the extraordinary delay with which all these tasks were taken in hand, so that I must now concede that a great deal that turned out badly at the dress rehearsal was a question of this alone, and that it could still be put right. None the less, the result of all this was that the scenery at the dress rehearsal turned out in such a way as to render an immediate performance perilous beyond measure, and, indeed, quite out of the question. - Thus determined, I telegraphed to my gracious patron, begging him in the first place to agree to the postponement that seemed to me to be necessary: yesterday I telegraphed my suggestions for improving the scenery to Court Councillor Düfflipp. If these suggestions are met, I would further presume to take it upon myself, without causing any personal anxiety, to bring about a performance next Sunday which will save my work and give Your Majesty some pleasure. It goes without saying that the musical direction of the music director Herr Richter is an indispensable part of this: he is a loyal man who is as enthusiastic as he is vehemently devoted to me, and since - in the circumstances - he could see no other means of preventing inevitable disaster from overtaking my work except by refusing - in complete disregard for his personal well-being - to co-operate on so scandalous a production, the intendant hit upon the idea of casting round for another conductor for my work. Now, I may well assume that my name is sufficiently respected among musicians to discourage them from committing the outrage that is now expected of them: but that such an expedient should have even been attempted fills me with very real dismay. - Why must this happen to me, - to me of all people, why, in the name of the proud-hearted protector of my life and art, a man who has at all times made me supremely happy through the most inspiriting assurances, and whose oft-asserted task in life it has been to be the tutelary genius and guardian spirit of my works, the only man to have helped, in blameless fashion, to give birth to my boldest and most difficult work - why should I yield to men whose incompetence, ill-will, pettiness, and even malice offer up this work to general ridicule? -
I have seen a great deal in my time, and my decisions to withdraw completely have not been taken lightly: however, - this is something I will not and cannot believe. And that is why I have dared to tax your patience today, my most gracious King, with this account of a situation about which you presumably have neither accurate nor honest reports. Unfortunately, I have often, nay almost always, had to suffer the King’s enigmatic silence in reply to remonstrations of this kind. I pray that my friend and intimate votary may answer me one more time! I await your telegraphic instructions in order to take immediate steps to fulfil my promise for Sunday.
Eternally and truly yours,
Your own
Richard Wagner
Source: Selected Letters of Richard Wagner, trans. and ed. Stewart Spencer and Barry Millington (W. W. Norton & Company, 1988), No. 383