Most Honoured Friend and Well-wisher!
Accept my heartiest thanks for your valued letter of January 25th. Though the immediate occasion of sending it was far from consoling, and though this endless putting-off of the first performance of my opera disturbs all my plans, yet, on the other hand, I should be very wroth with myself if I were unwilling to lend a most attentive ear to the reasons which you bring forward. As matters stand, I must honestly evince my gratitude that you — from an inclination towards my work, as I must indeed flatter myself — have at last definitely declared that my Rienzi ought not to come out under such unfavourable circumstances; and you may rest assured that — even though it be to my momentary regret — I recognize herein the most convincing proof of your truly friendly intentions towards me, and heartily rejoice thereat. For certainly it is of unspeakable importance to me that, above all, the first performance of my opera should be as free from fault and as perfect in all its parts as possible. I have too long delayed to do anything for my reputation, and indeed for this single reason, that I could not but regard a bad performance of my compositions, such as of necessity must have been their fate at a provincial theatre, as the decisive death of what was born of fullest life: aware, as I was, how many a noteworthy talent had already found its early ruin by sending its productions into the world disfigured and past recognition.
For the last eight years — since the time when I felt myself equipped to appear before the public — I have therefore maintained unbroken silence, and have always refused every opportunity of appearing only in an imperfect manner; so much the more then must it be my object that this, at last, my first appearance should be as successful as possible. For this reason was I so much rejoiced to see my work accepted for performance on the Court stage of your city, through the recommendation of my Dresden friends.
On account of its public, and their more or less determinative opinion, Dresden could naturally weigh little with me, or, rather, weigh less than Berlin or Vienna: still it is of the utmost weight to me on account of the character of its performances, which I know for certain can nowhere be more complete than at the Court Theatre of that city. With regard to Dresden, therefore, it is almost of less importance to me how my opera will be received there, than how it will be given there. You may guess from these my feelings whether I know how to value the service you rendered me when you declared that the performance of my opera could not take place just yet.
That you should at last see yourself compelled to make such a declaration — this, I confess, however, rejoices me somewhat less. I perceive by the whole delay, by the complete want of respect with which the general management treated my opera, that I should, perhaps, have been sold and betrayed in Dresden, unless you alone — at least amongst the immediate management — had taken interest in my affairs. The vacillating behaviour of the Herr Intendant is quite incomprehensible to me: to accept an opera for performance, not indeed through any personal considerations, but because it was recommended to him as worthy of production, and afterwards entirely to disregard it, is, in my opinion of things — supposing there lie at bottom no other unknown motives for his action — a perfectly senseless proceeding, however often it may occur in practice and gain an understanding. The doubt implied in this behaviour ought, of course, to be removed before a work is accepted. Unfortunately, with my total want of fame, I cannot complain: on the contrary, I must regard it as a rare piece of good-fortune to have at least found in you a warm friend. Yet the tactlessness and instability of the German repertoire is a sad truth, which one must recognize with real shame as soon as one casts a glance at the management of, e.g., the French theatre. No one, however, can suffer more under this than persons such as yourself, most honoured friend; and therefore there can be no possible necessity for me to express myself at further length to you under this unsavoury heading. Pity 'tis so.
However, to return to my Rienzi. Heaven grant that it may at least come out by the time you mention. See to it, please, that after the return of Mad. Devrient nothing else is studied before my opera, for even if this is settled, I shall still be constantly exposed to great uncertainty: how easily might Mad. Devrient return indisposed — what might not happen to Herr Tichatschek? I wrote once last autumn to this gentleman, but naturally received not a syllable of answer. What is his opinion? does he know his part? or do you think this will really suit him? You write to me that, in spite of the long procrastination, you will be good enough to let the preparatory work for Rienzi proceed slowly; that is fine, for in this way we shall not be taken by surprise again! Above all, I presume that my opera has been given out to be copied, and in this case I beg you to have the full score copied first, as my manuscript is the only one, and I shall soon want it, since I have only kept back the rough sketch.
Councillor Winkler writes to me on January 17th about the great splendour with which the general management had resolved to put Rienzi on the stage: two scenes were to be quite new, and the costumes were estimated at 537 thalers. Well, there is still plenty of time, and we will soon speak about it. Though much has changed with me and with my plans, through the fresh putting-off of my opera, still I shall not change my travelling plans. First of all, after five years' absence from Germany, I long for my dear fatherland, and then I wish my wife to take the Teplitz mineral waters; so that I feel sufficiently determined to yield to the further wish of talking over matters in person with you and our friend Herr Heine. I think of starting from here about Easter. Nevertheless, I beg you (however unimportant this may appear to you), for the present, to let my intention of visiting you in Dresden be known only to you and to Herr Heine; I think I have good reasons for this wish.
Please greet Herr Heine heartily for me; you might both, my dear friends, write once more hither, so as to make me quite happy. I should also very much like to know how little Marie is.
Farewell, my most honoured friend; be always well disposed and sympathetic towards me, and rest assured that I shall never forget how much I am indebted to you for your great kindness. With deepest thanks, I am
Your truly devoted
Richard Wagner.
14, Rue Jacob.
Herr Kratz, who was highly delighted with your greetings, thanks you very much, and sends his kind regards to you!
I had intended to write to Mad. Devrient; but, on reflection, I think I can fairly spare her my letter, and therefore beg you to commend me in the humblest manner to her kindness.
Source: Richard Wagner's Letters to His Dresden Friends, Theodor Uhlig, Wilhelm Fischer, and Ferdinand Heine, trans. J. S. Shedlock (Scribner & Welford, 1890), No. 96