Wagner's Letters

Richard Wagner to Ferdinand Heine

August 6, 1847 · Dresden

Overview

Wagner hopes the ailing Heine may retire from the stage on a secure pension as costumier, confesses deep contempt for the modern theatre, and reports his definitive break with Lüttichau over Gutzkow, though prudence counsels waiting for a Berlin success with Rienzi. At Marcolini's summer palace he has finished composing Lohengrin; the King of Prussia's interest has revived Rienzi in Dresden, and Tannhäuser with its new ending drew a full house.

Letter

Dearest Friend!

Now at last to you! News from you comes in but seldom: Koch brought the last, and this was, to our comfort, fairly good; are you really unable to write? I have still not given up the idea of paying you a visit, but see less chance than ever of carrying it out, as I shall have to take a little congé this month, in order, at Küstner's request, to view by eye and ear the two Berlin tenors. According to Koch's latest information, it appears that, reckoning from then, you would need six weeks longer to thoroughly establish the cure, but that your brother-in-law was perfectly certain that you would now recover. I cannot judge how far this will influence your future position as actor: but if it lengthens your acting career, I should always mournfully deplore the cause — though certainly not the effect. If we all can be sure that in the event of a declaration of your unfitness for active work, your income — owing to the Royal favour, on which we may certainly count, and to the retention of your position as Costumier — would not be materially reduced, then I can only wish you from the bottom of my heart the good-fortune to have nothing more to do with the actual theatre from this time forth, but to look forward to a long and cheerful evening of your life, spent in the enjoyment of science and true art. I have such deep contempt for the ruling spirit of our Modern Stage, that — since I now feel I cannot improve it — I have no more ardent wish than to be in a position to cry off from the whole thing; and I consider it a real curse that my whole productive impulse should have directed itself to the dramatic form, for in the wretched condition of all our theatres I can but see the thorough mockery of my endeavours. Perhaps you have already heard something of my having definitely broken off with X. about three weeks ago, so that, on my side at least, there is no hope whatever of a reconciliation: G. was the occasion of it. The details are really quite a matter of indifference: it is the old, old strife of knowledge and conviction, as against ignorance. Agreement is not to be thought of; but when the conflict has reached such a pitch as this last, even a modus vivendi is out of the question, and so I adhere to my fixed resolve to put an end to the matter. However, I took counsel of prudence, and recognized that if I could only put a great Berlin success into my side of the scale, this must but tell in my favour. If therefore I can keep X. at arm's-length until I have won that advantage, so as only then to approach the King, I should much prefer it; but if before that he will not leave me in peace — well, this step must be taken sooner. Naturally, I have no inclination to make a great sacrifice of my pay; but if there's no other way I must put up with even that. (Are you not filled with envy to play a part in this long comedy also?)

Now to more satisfactory news! My life at Marcolini's suits me well: still sound in health, I have now finished the two Acts of my Lohengrin, thus ending the composition of this opera; and am glad and happy over it, for I am pleased with my work. If Rienzi goes off in Berlin as well as I hope, Lohengrin will follow there immediately afterwards. The King of Prussia was a week in Pillnitz (an opportunity of which L. unfortunately made no use!). The former, however, must have spoken much about me to the latter, and probably to the whole Court; for on the day after a great banquet L. rushed into town, and ordered everything else to be laid aside, and Rienzi at once put again on the stage (mind you, all this after my catastrophe). Last Sunday we had Tannhäuser to an overflowing house; the new ending went well, for even the foreigners, who on such occasions always gape, but do not stir their hands, were quite lively.

Rienzi will come out at Berlin in November; the Schlegel, who is to sing Adriano, is engaged there from the 1st of October.

There is my news for you, you poor Heinemännel! Let me, in exchange, soon hear something definite from you, for till then I really cannot carry on a proper conversation with you. Minna, who has thought it necessary to keep on reminding me about writing, most heartily wishes you speedy recovery, and showers kind greetings all round: I follow her example.

Farewell, and soon send good news to

Your

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. 161