Highly Esteemed Sir,
Yesterday, the 7th inst., I received by post from Nancy your kind letter, which, from its contents, ought to have reached me through Herr Leury: probably this gentleman stopped there, and so posted on the letter.
With this preface I now hasten to offer you my cordial thanks for the great interest and forbearance displayed in your honoured lines. Pray be assured that I have been truly refreshed thereby, and that I clearly perceive how great will be my future obligation to you. The hopeful view which you take of my work gives me immense comfort, and I cling to it with all the greater trust, coming as it does from you, a man universally recognized as honest and outspoken. I am also indebted to you for the careful manner in which you have pointed out the disparities and uncertainties that lie in the way of realizing my purpose: by this I am fully convinced of your sympathy, and assure you that I feel under double obligation to you. As this, however, is the point on which you desire especially — and, indeed, in my own interest — a more circumstantial reply, I permit myself to devote the principal contents of these lines thereto.
I hope that Herr Heine will shortly impart to you several passages from my last letter to him, which were principally intended for you, most honoured sir. They concerned the difference which exists between your estimate of the time which my opera takes in performance, and that which I have arrived at after recent calculations. Herr Heine wrote me that you reckon it at five hours, while I put it at four. I much wish that you had known this before you commenced your letter to me, because it would naturally have greatly influenced your views as to the shortening of my opera, and perhaps have effected a change in them in many respects. Now, if I set about writing once more in detail on this point, I am obliged to place in the forefront this observation of mine concerning the playing length; for I reckon it a piece of good-fortune to have won the conviction that you have been led into a not unimportant, though easily accountable, error. For otherwise, should your estimate prove correct, I should not know how to set about shortening my opera by a whole hour.
Most honoured sir and well-wisher, if we now agree that a performance of my Rienzi (not, of course, counting entr'actes) in its present form would last four hours, then a chief cause of apprehension is at once removed, viz., that my opera would play much longer than, among other works, Les Huguenots. But should we have succeeded in imparting such interest to the dramatic progress in the action of my opera that there were no danger of the audience becoming weary, I might perhaps venture to assume that in my Rienzi this sympathy with the progress of the action would outweigh the certainly somewhat higher artistic interest that, for example, keeps the public awake in the last Act of The Huguenots. A glance at the compass of the various Acts of my score will, however, show you that the last Act — the one which in long operas is always a source of fear — is almost disproportionately shorter than the others; a circumstance which we certainly should take into account. (Pray do not think that I mention this because I am under the foolish illusion that it is here a question of talking you over to my interest; on the contrary, I know how amiably disposed you are towards me, and it can therefore only be my intention to come to a clear understanding of the matter by a mutual exchange of our ideas. I consider this remark necessary, because I should be most disconcerted if you thought you must attribute so incorrect a motive to my objections; and so I proceed.)
From the passage in your valued letter in which you say that, feeling the great length of the numbers, you tried to make cuts, but could never find the suitable place where this could be effected, I perceive more than ever that it is not individual lengthiness — too wide expansion, repetitions, or superfluous embellishments — that you complain of in my behalf, but only the excessive length of the whole. While on this point, I must tell you that during composition I found myself compelled, by a survey of the proportions of my subject, to refrain from certain purely musical amplifications, even where they would perhaps have been of good effect. To make myself clearer, I instance the first choral passage at the commencement of the first finale: "Gegrüsst sei, hoher Tag"; did not the subject here provide a good opportunity for an elaborate chorus of exultation? In the finale of the Second Act, the scene in which sentence is passed on the nobles — what material for a grand ensemble! In the Fourth Act, where Rienzi approaches the church, and, amid the muffled chants, perceives the proclamation of excommunication — the conspirators in a state of indecision — Adriano struggling with his better self — the horror-stricken crowd — what use could not I have made of all this to write one of those grand finales? In fact, it cost me here considerable self-restraint to keep from broader musical development; and I think you also will have seen that I never protracted a situation; that, on the contrary, I rather felt compelled to pass swiftly from one to the other. All the more necessary was it, therefore, for me to express myself in a purely musical way in those important finale sections that were demanded by the situation; and the two adagio movements of the second and third finales, as well as the rushing concluding passages of the same, demanded throughout a more detailed treatment, in order to restore the stream of music to its rights.
From that passage in your letter I now conclude that you have felt with me that of actual long-windedness (protractions, and repetitions easy to strike out) — I say this almost with regret — there is not much to be found; "with regret," because I see how difficult the business of shortening is thereby made. Believe me, I would far rather you had sternly pointed out to me extensions and repetitions of this sort, and that I had nothing further to do than readily to follow your suggestions.
Meanwhile, let us look at the matter for a moment from the other side. Is a duration of four hours, with a lively and uninterrupted action, really so unbearable, especially when there are no spun-out passages to complain of? Still, here and there, there will be something to strike out, and I myself make some proposals concerning this upon the enclosed sheet; further, as on the whole I perceive the pantomime and ballet will have to be considerably shortened, whereby again some time will be saved. And then, quite frankly: have your operas never played up to 10.15 or 10.30?? I fancy La Juive can scarcely have lasted less time.
Now to something else. My proposals for the dividing of the choir are also to be found on the enclosed sheet. It is a great pity that I counted on the co-operation of the Kreuzschule pupils; is there then no other largish choir whose services could be secured, if only for the church-chorus in the First Act? I fancied I had read about such a choral union.
Concerning the pantomime and the ballet, you make me most anxious; at any rate, rather than present both in an utterly inadequate way, it were better to curtail them considerably. Is Dresden then really so badly off in this respect? I keep coming back to La Juive, for this is the only modern opera of which I have a distinct remembrance: I saw it there in the summer of 1837, and confess that I found the by no means insignificant ballet anything but bad, whether as regards arrangement or execution. Also in Les Huguenots, I hear, one misses nothing, and everything is well cared for. The pantomime, of course, must be entirely left out, if players of importance do not undertake the three principal rôles in it. I will write in a few days to the general management, and see if it be possible by its means to induce the comedians in question to take part in my pantomime. If this cannot be managed, the pantomime, as I said, must be left out, and my suggestions in view of this and other events I have set down on the enclosed pro memoria.
In calling your attention to this document, I mention here once more that in it I have indicated everything which could in any case be cut, but that this concerns only short passages, which, in truth, would not much diminish the playing length of my opera. On the other hand, I leave to you and Herr Reissiger to cut out wholesale whatever may be cut without decided injury — i.e., long-windedness, wherever you may find it. I, for my part, am the most incapable person, and at the same time the most prejudiced, in a matter of this kind, and I think I cannot do better than once again lay this matter to your heart.
For the rest, pray do whatever you can to hurry the thing on. Nothing is yet copied out; whenever, then, will it be given out for study? This will certainly take up some time, for I know well how many difficulties there are in my opera! Must it really be put off for so long? As it seems now that Gemma di Vergy and other Italian operas must be taken up again, cannot Guitarrero wait till after Rienzi? At all events, get the music copied at once, so that the singers can at least have their parts; long passages need not yet be cut out, and the smaller omissions, which are often settled at the vocal rehearsals, can easily be marked. Well, I trust entirely to your goodness.
The enclosed small sheet contains, then, the little pro memoria I mentioned: I have written it apart so that you may make use of it at your discretion — e.g., communicate it to Herr Reissiger. How I wish you would make the sacrifice of writing to me soon again, to say what you think of my proposals and what you have settled in my affair! I earnestly beg, as the whole affair is so entirely in my interest, that you will send your kind letter unfranked; however, that scarcely needs saying.
Once more my heartiest, deepest thanks for your valued letter, for your kindness and friendly intentions: I shall never cease endeavouring to show myself worthy of your notice. With the request that you will give heartiest greetings to Herr Heine from me, and that you will continue to me your invaluable friendship, I commend myself to you with deep respect and thanks, as
Your most devoted servant,
Richard Wagner.
Paris (14, Rue Jacob).
1. Suggestions respecting the Cast.
Rienzi, Hr. Tichatschek; Adriano, Mad. Schröder-Devrient; Irene, Dlle. Wüst; Steffano Colonna — I should prefer a certain Hr. Zezi for this part (is this feasible?); Orsini, Hr. Wächter; Cecco del Vecchio, Hr. Risse; Baroncelli, Hr. Schuster; Cardinal (Filippo di Gardia), Hr. Vestri; Messenger of Peace, Mad. Hellwig (I do not, however, know her; is her voice flexible and fresh?). It is impossible for me to cast the subordinate parts, as I am at present quite unacquainted with this portion of the personnel; so I leave it entirely to the judgment of the management.
2. Suggestions respecting the Distribution of the Choir, etc.
Act I. No. 1. Introduction. Followers of Colonna and Orsini, eight singers to each part; People's chorus, 22 men. Very good! After the followers of the Nobles have left the stage, they will have plenty of time to change their dress (perhaps by simply throwing on a cloak), and reinforce the chorus of the People, with which the introduction concludes, and in which male voices predominate.
No. 4. Finale. If it is impossible to employ a special choir of singers for the chorus in the Lateran Church, "Erwacht, ihr Schläfer," there are only two ways out of the difficulty. Either: The chorus of the People, "Gegrüsst sei, hoher Tag," must be sung on the stage by only 22 men and 12 women, whereas the crowd of People would have to be considerably reinforced by figurants and supernumeraries. Sixteen men and 10 women would then sing the chorus in the Lateran; at the passage "Seht wie er glänzt," where the musical structure of this chorus is divided into two parts, the five voices that enter one after the other as soli must be doubled, and the remainder would have to sing the sustained notes. These singers would then, of course, rejoin the choir on the stage as quickly as possible. But as the female voices would be the weaker in number, the singer of the Messenger of Peace, and perhaps one other female soloist not engaged in this opera, might kindly consent to strengthen them. Or: The whole choir of male and female singers must first appear on the stage to sing the chorus "Gegrüsst sei, hoher Tag." Then, during the somewhat long organ prelude, 18 men and 18 ladies would withdraw from the stage, to sing the church chorus from behind the scene. Considering the great amount of movement on the stage, this could easily be concealed by imperceptibly replacing the departing men by an equal number of supernumeraries, and the ladies by as many figurants. This might be arranged by any device of suitable grouping (the People here should fall on their knees); besides, one could suppose the crowd were moving to and fro, etc. Naturally, the principal thing is for the stage not to be left too empty. In this case I would add a short organ prelude, so that the singers who had gone off would have time to get back to the stage for the choral passage, "Rienzi! Rienzi!" The figurants who had for the time replaced them would still remain on the stage, and, by the advent of the returning choristers, the whole would gain the appearance as if the mass of the people were continually increasing. This way of arranging the matter would be most to my liking.
Act 2. No. 6. Terzett and Chorus of Nobles: 16 good singers.
No. 7. Finale. The first chorus is to be sung by the whole personnel, with all the reinforcement possible, the Nobles, of course, not to be placed in the front.
In any case, the ambassadors must be represented by figurants. It will be the task of the costume-designer to distinguish each ambassador as much as possible from the rest, by the dress and other insignia. Each of these ambassadors must have a small following of heralds, etc., and their train be made as brilliant as possible; each of them presents himself to Rienzi, and hands him a scroll; thereby the march might well be given entire, but if the music is too long, the 24 bars in G major could be omitted.
If the pantomime must be entirely cut out, there would only then remain the Warriors' dance, in F major 2/4, to be performed in old Roman costume; the combat of the Cavaliers, in mediaeval dress; the appearance of the Goddess of Peace, accompanied by maidens, some in ancient, some in mediaeval attire; and the last great ballet, as a festival ensemble-dance, illustrating the union of ancient and modern Rome, with the final unfurling and blessing of the banners (white and blue, with silver stars). The Warriors' dance, for men only, will cause no difficulty. I remember formerly having seen a similar dance in Jessonda performed in excellent style by the soldiers quartered at Dresden. I can wish for nothing better than something like that. The concluding ensemble-dance would consist, for the most part, of a sort of chain-dance; the première danseuse would, however, have an opportunity of showing herself. I should assign to her the passage in 6/8 time, G major, and that in 3/4 time, C major, to the two solo dancers.
The bass passage, Misereat dominum, can be sung by the Nobles themselves behind the dropped curtain; for the Monks are only seen when they have nothing more to sing, and so can be represented by supernumeraries.
During the Finale, 16 Nobles, 22 men for the People, as before.
Act 3. No. 8. Introduction. Full male chorus, with auxiliaries.
No. 10. Finale. War Hymn. The men-at-arms are, for the most part, to be represented by figurants, and perhaps only 22 singers should be employed here, so that at least 16 may remain for the Priests (or, on account of the censorship, aged Citizens past service in the field), who naturally will join in the hymn; for they accompany the military procession as it leaves the stage, and afterwards return with it, so as to sing with the women the small chorus, "Willkommen, Roms siegreiche Söhne," in which the Warriors naturally take no part, although it would not be very remarkable even if some out of the military procession were to strengthen the above-named passage.
Act 4. No. 11. Terzett and Chorus. For the Conspirators, the 22 theatre-choristers.
No. 12. Finale. In the procession the men are only to be represented by figurants and supernumeraries. Song of the Priests in the interior of the church, "Væ, væ, tibi maledicto": all the basses of the auxiliary choir. The passage for the Cardinal, "Zurück, dem Reinen nur," to be strengthened by these.
Act 5. No. 16. Finale. Chorus of the People: the whole of the theatre-choristers, with auxiliaries. The final group of advancing Nobles to be represented only by figurants.
3. Suggestions for Cuts.
Act 2. No. 5. Introduction. Prelude to the chorus of the Messengers of Peace: after the thirtieth bar from the commencement, the next 27 bars can be left out: the song would then only begin with "Ihr Römer hört die Kunde." If, on the repetition of this chorus, while the Messengers of Peace are departing, something must be omitted, let it be the eight bars from "in düstre Felsenschluchten" to "denn Friede ist gekommen," although this will not answer very well, on account of the text.
No. 6. Terzett and Chorus. The repeat after the close is to be left out, perhaps also something in the middle of the ensemble; but here I must ask Herr Reissiger to make the cut for me, as in that matter I am too prejudiced to find the right point. I should, least of all, like the passage for the basses, "Geschworen ist ihm Tod," etc., to be cut out, as thereby Adriano would be made too insignificant.
No. 7. Finale. In the March of the Ambassadors, 24 bars, G major, are to be left out.
Should the pantomime be performed, the cuts could best be indicated by whoever arranges it. In this case the dance of the women, E flat major 3/4, must naturally be preserved, though probably as a mere solo dance, with groupings. Then the whole 32 bars of A flat, and the first 31 bars of the following E flat, could be omitted. If the pantomime is entirely done away with, the ballet would open with the Warriors' dance, F major 3/4: in this event, instead of the Herald's recitative, I must precede it by a short instrumental introduction, for tonality's sake — at most eight bars. The following cut is, however, to be made in this ballet-number: after the first 96 bars, the D major, B major, and F major are to be left entirely out, and the music passes at once to the C major 6/8. If the third ballet-number — i.e., the final grand ensemble-dance — cannot be performed, then, after the G major 6/8, the Tempo primo, C major 4/4, is to be left out, and one must proceed with the E major 3/4. Closing section of the Finale: here again, in spite of the extent of this piece, it is impossible for me to find the proper point for cutting. At best in the Presto, where, after the forty-third bar, 24 bars can be struck out, which, however, does not amount to much, and only robs the close of its force.
Act 3. No. 8. Introduction. At the close of this, the reprise of seven bars can be omitted.
No. 10. Finale. Closing section. Allegro molto, E flat major. After the first 82 bars, eight bars can be struck out; the next 54 remain, and then again 16 may be skipped. In the più mosso, after the first 16 bars, the next 18 can be left out.
Act 4. No. 11. Terzett and Chorus. In the ensemble, the first eight bars from the più stretto onwards can be left out; in Adriano's part the last bar before the più stretto must then be changed, so as to correspond with the eighth of the omitted bars.
No. 12. Finale. The march at the beginning, without repeat.
Act 5. No. 13. Rienzi's Prayer. Here I beg Herr Capellmeister Reissiger to cut as he pleases in the opening and concluding symphonies.
In the introduction of the overture, I can also shorten the solo of the 'cello and double-bass; but I would prefer not to do that until I have convinced myself at an orchestral rehearsal that the nuances of phrasing indicated by me are not sufficient to prevent this passage from being wearisome, which, with a perfectly bald execution, would happen without a doubt.
Richard Wagner.
Source: Richard Wagner's Letters to His Dresden Friends, Theodor Uhlig, Wilhelm Fischer, and Ferdinand Heine, trans. J. S. Shedlock (Scribner & Welford, 1890), No. 95