The fifth public performance (newly rehearsed) of Tristan and Isolde, dear Master, really came off yesterday, Sunday, June 20, 1869. The house was sold out, but again season-ticket-holders were admitted, apparently by all-highest orders. In the first and second galleries and in part of the stalls a continuous thinning was evident, but in the crowded pit (at one florin) they stood it out to a man from five-thirty to eleven-twenty. Herr and Frau Vogl achieved wonders from the musical side. The big dialogue in the second act was in fact far more effective as regards tone and words than four years ago, when the blissful Ludwig damped his voice to please the noble Malwina. The orchestra was quite attentive and discreet except in minor details. I for my part conducted far better and with more composure than before. This was due to my practice with the baton in between. On the dramatic side I have nothing particularly bad to relate, simply because my eye and ear were too incessantly concentrated on a precise rendering of the music. Frau Vogl displayed definite talent in the first act, although the catastrophe at the close was a complete failure (the dumb-play over the mistaken potions seemed to me absurd), but both parties had declared that they needed at least another fortnight to perfect themselves in acting, and this they could not have. Herr Vogl sang the first part of Act III (the larger half) excellently, and Bausewein and Fischer were infinitely better than their predecessors. (English horn and trumpet on the stage more accurate too.) Brangäne was far worse, dragged perpetually. Frau Possart (formerly Fräulein Deinet) has in fact only a minimum of voice left. I had to leave her the part because no other singer would have been able to work up the part in time. (Even Frau Diez would not have been capable of it.)
These notes are given by way of excuse after the event for my refusal to do as you wished and lay down my baton before the Tristan performance. I am going to do it now. My resignation had been handed in, but some months ago I had solemnly bound myself to do all that lay in my power to fulfil the King’s wish. This I had to put first as my duty, and I was able to do so without failing in piety towards your work. There was no bungling, no profanation, I can assure you. The performance of Tristan yesterday was a better performance than any that any of your operas has ever had at any theatre. I would hardly except even the Dresden and Weimar ones of Tannhäuser and the Vienna Lohengrin. Yesterday’s event is therefore, and remains, one of great importance in the chronicles of music. It was a fresh and irrefutable confirmation of the performable quality of Tristan even under difficult conditions. His Majesty is alone to blame for our not being able to devote more time to it and achieve a more finished production. His two ukases were as follows:
1. On August 25, Rheingold, because, owing to the necessary reconstruction of stage and orchestra, that is the final date fixed for the closing of the court theatre.
2. Your works to be produced in chronological order.
Tannhäuser, Lohengrin, Tristan, Meistersinger will be given private performances; the public outcry against these ought to be suppressed instead of merely ignored.
Richter is conducting the Meistersinger on the 27th, with Betz and Mallinger. He put it aside for the whole of last week to make way for the Tristan orchestral rehearsals with pianoforte. I should still have the strength left to conduct it for the tenth time, but, for one thing, I owe it to Richter and his magnificent achievements to give him this pleasant satisfaction, and, for another, there is more point in my closing my career with Tristan, for so I come full circle.
Tomorrow (Tuesday) at ten there is a private full-dress performance for the King and an invited audience in the stalls. The two Vogls are neither hoarse nor exhausted nor ruined and have just consented to sing.
Most of our friends I neither would nor could see, having stayed in bed yesterday morning and today; but Alexander Seroff, the Russian Wagner, was here; also the faithful Kurwenalistic Kalliwoda and the singer Hauser, who has now become an enthusiast. Kalliwoda is sure to write and tell you his impressions; he was present, as you know, at the first (real) performance here. The poor fellow has fallen a victim to “Uncle” Devrient’s hatred of you, and the young Jew Levi has taken his place. He thinks of emigrating to America. I found his enthusiasm very delightful, and also that of young Servais, who lives with me and has been studying the great work day and night, learning German properly at the same time so that he might understand the words better. You see I do not revel in unpleasant impressions only, but register the pleasing moments too.
I have managed therefore to keep my word to the King without militating against your work, or, at least, that is how I see it. As I shall be kept here next month by the music school and also do not feel well enough to come and see you (as I once suggested); as in addition a meeting with me would be painful and embarrassing for you while I, in my present frame of mind, should inevitably be dangerously upset by it; and as, finally, Cosima has received a complete explanation in a lengthy letter, it seems to me that a meeting between us two is superfluous. It is better that I should bid you a last good-bye in writing when I definitely leave Munich.
Meantime accept my sincere and whole-hearted wishes that you may enjoy good health and creative strength.
PS. I have unfortunately mislaid Klindworth’s letter, but will send it another time. He is very unhappy in Moscow because he cannot realize his ambition of paying off his debts and being able to get away soon. In the summer he will try to come to Munich and Lucerne.
Source: Letters of Hans von Bülow to Richard Wagner, Cosima Wagner, His Daughter Daniela, Luise von Bülow, Karl Klindworth, Carl Bechstein, ed. Richard Count Du Moulin Eckart, trans. Hannah Waller, ed. Scott Goddard (Alfred A. Knopf, 1931), No. 296